Smallville Episode X07 Gambit
by Backward Galaxy
Summary: Episode 7 of 10 of a series of Smallville fan scripts. In this episode, Clark and Chloe's first date goes up in flames... literally.


SMALLVILLE  
Episode 07  
  
"Gambit"  
  
EXT. METROPOLIS INTERNATIONAL - NIGHT  
  
A massive 747 swoops down from the sky, clouds of smoke circling out from where its wheels streak against the runway.  
  
Off near one of the main terminals, a second 747 waits for its turn to head for the runway as airport personnel finish loading the excess baggage into the plane's underbelly storage compartment.  
  
A tall, young looking, man sits behind the controls of a baggage cart staring impatiently at his watch. Shaking his head, he stands up and turns around, removing one side of his protective headphones from over his ear.  
  
CART DRIVER  
  
Hey, rook.  
  
Short for rookie.  
  
CART DRIVER  
  
We loaded up or what? I want to get out of here. My wife's making pot roast.  
  
Behind the well loaded cart, a baggage officer hurriedly picks up the two remaining suitcases and places them on the back of the cart. Keeping his head down under his cap, he gives the driver the thumbs up and hops on the back of the cart.  
  
CART DRIVER  
  
It's about friggin' time.  
  
The man sits back down at the controls.  
  
CART DRIVER  
  
How damn hard is it to stack suitcases for crying out loud? Damn rooks.  
  
As the cart pulls away, a man wearing a baggage officer's uniform can be seen lying unconscious behind a currently unused baggage cart.  
  
A second baggage officer, whose nametag simply reads 'Joe', anxiously awaits the arrival of the last load of luggage at the top of the ramp leading up and into the plane's storage compartment. He also seems a bit impatient, pealing back the wrist of his sleeve, checking his own watch. It reads almost eight 'o' clock.  
  
Upon seeing the cart approach, he sighs, mumbling to himself.  
  
BAGGAGE OFFICER JOE  
  
::under breath:: Where'd ya go, China?  
  
The cart swings by the bottom of the ramp then, starts heading back toward the terminal, allowing itself room to turn around and back its way up the ramp. The officer riding on the back swings his legs over the side and jumps off, loading the luggage from the cart into the plane's compartment before the cart even comes to a full stop. Joe nods in approval.  
  
BAGGAGE OFFICER JOE  
  
Good, you're learning.  
  
Quickly, Joe and the rookie finish unloading the cart into the plane's baggage compartment.  
  
BAGGAGE OFFICER JOE  
  
Think you can close up, rook?  
  
The rookie simply nods, keeping his head tilted toward the ground. The combination of the night and poor lighting in the storage compartment effectively shield the rookie's face from sight.  
  
BAGGAGE OFFICER JOE  
  
All right.  
  
Joe jumps onto the back of the cart, giving the driver the thumbs up.  
  
BAGGAGE OFFICER JOE  
  
We'll park her.  
  
By 'her' he refers to the cart, gingerly tapping one of the guard railings on the back of the cart.  
  
BAGGAGE OFFICER JOE  
  
. Just remember to sign your card before turning in.  
  
As the cart drives off, the rookie gives Joe a quick, courteous, salute. Following the cart down the ramp, the rookie carefully steps through the procedures to close up the plane storage compartment.  
  
The doors start to shut closed and the rookie looks over his shoulder, checking on the progress of the other baggage officers. Satisfied with their distance, instead of starting back towards the terminal, the rookie turns and heads around the side of the plane.  
  
A small crew of engineers disbands from around the plane, having completed their pre-flight checklists. Carefully avoiding them, the rookie heads for the plane's landing gear, climbing up over the tires and into the interior of the plane.  
  
INT. 747 FLIGHT 079 TO GOTHAM CITY - LANDING GEAR COMPARTMENT  
  
Settling himself inside the landing gear compartment, the rookie quickly grabs for the zipper of his uniform, pulling it down over a surprisingly curvaceous chest. Removing the uniform completely, revealing a skin tight black jump suit underneath, it becomes clear that 'he' is actually a 'she'.  
  
The extra large baggage officer's uniform served a higher purpose than to just conceal the woman's identity, however. Several plastic rods have been carefully strapped to each one of her limbs, as well as on her back. She also carries a backpack, strapped over her shoulders.  
  
Quickly, the woman removes the backpack and begins removing the plastic rods from each of her limbs. Screwing two rods together, end to end, she begins silently assembling something from the pieces.  
  
INT. 747 FLIGHT 079 TO GOTHAM CITY - COCKPIT  
  
Captain Mac and his co-pilot quickly run over a few of the controls inside the cockpit.  
  
CAPTAIN MAC  
  
So, pretty soon you'll be the one sitting in the big chair, huh?  
  
CO-PILOT DENNY  
  
I couldn't have done it without you, Mac.  
  
CAPTAIN MAC  
  
Nonsense, you're a great pilot. I knew that the first time I laid eyes on you.  
  
CO-PILOT DENNY  
  
::confused:: As I recall, the first time you laid eyes on me, you fainted.  
  
CAPTAIN MAC  
  
I didn't faint.  
  
CO-PILOT DENNY  
  
Mom said you fainted.  
  
CAPTAIN MAC  
  
Well, Mom's a liar then.  
  
CO-PILOT DENNY  
  
::laughs:: Mom doesn't lie.  
  
CAPTAIN MAC  
  
::laughs:: Your mother lies all the time.  
  
CO-PILOT DENNY  
  
Name one.  
  
Mac struggles to think of something.  
  
CAPTAIN MAC  
  
Santa Claus...  
  
CO-PILOT DENNY  
  
Santa Claus?  
  
CAPTAIN MAC  
  
On all your Christmas presents, your mother used to write "To: Denny, From: Santa Claus". Well, there is no Santa Claus. So, she lied.  
  
Denny simply shakes his head and laughs.  
  
TOWER (over radio)  
  
Flight 079, this is Tower, over.  
  
The Captain takes the radio receiver in his hand.  
  
CAPTAIN MAC  
  
Tower, this is Flight 079.  
  
TOWER (over radio)  
  
Flight 079, you are clear for runway three for your flight to Gotham City, over.  
  
CAPTAIN MAC  
  
Roger that, Tower. and we'll see you in the morning.  
  
The Captain puts down his radio receiver and smiles over at his son.  
  
CAPTAIN MAC  
  
You care to take this one. Captain?  
  
CO-PILOT DENNY  
  
Don't mind if I do, Captain.  
  
They make final preparations to take off.  
  
EXT. METROPOLIS INTERNATIONAL - NIGHT  
  
Slowly, flight 079 to Gotham City makes its way down runway three, gradually building up speed. Demonstrating, once again, man's superior technological innovation, the large behemoth slowly lifts into the air, soaring up toward the clouds.  
  
As the massive 747 continues its ascent, it flies effortlessly over an old military base, on the outskirts of Metropolis International Airport, now owned by none other than LuthorCorp. The base seems to have been converted into a private LuthorCorp airline with several large, closed off, hangars as well as two exclusive runways. A tall, thick, fence runs around the entire property to keep out intruders. A LuthorCorp sign on one block of fencing reads, "Private Property - Trespassers Will Be Prosecuted".  
  
INT. 747 FLIGHT 079 TO GOTHAM CITY - LANDING GEAR COMPARTMENT  
  
The mysterious woman completes her construction of what appears to be a small hang glider, which she wears on her arms and back. Carefully, she removes her hat and maneuvers herself toward the opening, looking down to see the LuthorCorp private airline below.  
  
The landing gear begins to squeal as it slowly rises up into the compartment. Just before it closes up completely, the woman takes a deep breath and climbs out of the plane.  
  
EXT. LUTHORCORP PRIVATE AIRLINE - NIGHT  
  
As flight 079 makes its way for Gotham City, it finds itself carrying one less passenger. The mysterious woman briefly allows herself to free fall before throwing out her arms, catching the air beneath her with her stealth glider.  
  
Gracefully as a hawk would swoop down on its prey, the mysterious woman circumvents all possible security, comfortably gliding down into the LuthorCorp private airline, landing just behind the north hangar.  
  
Quickly, the woman ducks behind some large crates, ridding herself of the cumbersome glider. Smiling, she removes a small camera from inside her belt.  
  
MERCY GRAVES  
  
Show Mercy, Mr. Luthor.  
  
She runs off to complete her mission.  
  
EXT. PETE'S HOUSE - DAY  
  
A realty sign stands in front of a new house with the word "SOLD" stamped across the top. It's a quaint little home with rose bushes sitting on either side of a stone path leading up to the porch steps. The porch itself wraps around the entire house, like a little skirt. Acres of property surround it in all directions but, the backdrop is mostly bland because this appears to be one of the first houses built in what will soon be a large community. Only a few other houses have been built up, well down the road, vaguely claiming to hold the Ross's neighbors.  
  
INT. PETE'S HOUSE - KITCHEN  
  
An open loaf of bread sits on a cutting board, several layers of various cold cuts lying atop the exposed face. Carefully bending down, positioning his eyes level with the bread, Pete lays two pieces of bologna on the top.  
  
PETE  
  
Most people believe that the key to making the perfect sandwich lies in the proportion of slices that you put into it; so many slices of bologna to so many slices of cheese.  
  
After laying the bologna down, Pete stands, turning to face Clark who feigns interest.  
  
PETE  
  
Now, that's a myth. As any self-respecting deli connoisseur will tell you, deli meats and cheeses are often sliced at varying thicknesses depending on whoever is working the deli slicers.  
  
CLARK  
  
::rolls eyes:: Oh, really?  
  
PETE  
  
Absolutely.  
  
Pete turns and grabs some sliced pepperoni from a stack on the counter. Slowly, he positions himself to lay the slices on top of the bologna.  
  
PETE  
  
The real key is in the proportions of the total masses of the cold cuts, not the slices, and the even distribution of said masses.  
  
Pete proudly lays the pepperoni over the bologna.  
  
CLARK  
  
You've put way too much thought into this, you know that?  
  
Pete grabs some slices of tomato and lays them over top the pepperoni.  
  
PETE  
  
Never underestimate the power of a good sandwich, my friend. If you were to tell me that I was going to die tomorrow, this right here.  
  
Pete points to the sandwich.  
  
PETE  
  
. would be my choice for a last meal. This is good stuff, right here.  
  
A thin layer of lettuce later, Pete closes the sandwich, laying the other half of the loaf of bread on top. He takes a moment to step back, admiring the sandwich from afar.  
  
PETE  
  
::sighs:: It's an art really.  
  
CLARK  
  
::rolls eyes:: Whatever you say, Pete.  
  
Pete shakes his head and grabs a knife off the counter.  
  
PETE  
  
You just don't appreciate real art.  
  
Clark objects.  
  
CLARK  
  
I appreciate art. I really appreciate art on a plate with a side of chips and a pickle.  
  
PETE  
  
::laughs:: Yeah, yeah.  
  
Pete slices the sandwich in half while Clark grabs the pickle jar and a bag of potato chips off the counter. Placing the sandwich halves on separate plates, Pete follows Clark to the kitchen table where the two friends sit down for a healthy lunch.  
  
CLARK  
  
I'm starving.  
  
Clark takes the first bite, sinking his teeth into the monstrosity of a sandwich Pete prepared. Like a wolf sinking its teeth into its prey, Clark's eyes roll back in his head.  
  
CLARK  
  
::mouth full:: My mouth really appreciates your art, Pete.  
  
Pete looks up, slightly confused.  
  
PETE  
  
I'm forgetting something.  
  
He snaps to attention.  
  
PETE  
  
Drinks!  
  
Pete gets up from the table, and heads for the fridge, as Clark finishes swallowing.  
  
CLARK  
  
Mmm. Now, my stomach is appreciating your art, Pete.  
  
Pete opens the door to the fridge and pulls out a pair of two liter bottles of soda. He laughs, mischievously, and brings them to the table.  
  
PETE  
  
Here you go.  
  
Pete hands one of the bottles to Clark.  
  
CLARK  
  
Thank you, sir.  
  
PETE  
  
You're quite welcome, sir.  
  
The two take a long moment to simply munch away before Pete finally breaks in a bit of conversation.  
  
PETE  
  
So, what's the deal with you and Chloe?  
  
Clark plays dumb.  
  
CLARK  
  
What do you mean?  
  
Pete sees through Clark as if he himself had X-ray vision.  
  
PETE  
  
Come on, man, it's me you're talking to here, your brother Cool-El from the planet Earth. I saw the way you were staring at her yesterday, in class. When the fire alarm sounded, I half expected to turn around and see a blondie backdraft. I almost fell out of my chair.  
  
CLARK  
  
You did fall out of your chair.  
  
PETE  
  
Hey, I didn't fall, I momentarily stumbled, okay? There's a big difference.  
  
CLARK  
  
Sure there is.  
  
PETE  
  
Come on, though, I'm being serious. There something goin' on there?  
  
CLARK  
  
::hesitant:: Maybe.  
  
PETE  
  
Maybe?  
  
Pete observes Clark's changing expression carefully.  
  
PETE  
  
Oh, I get it. Chloe's little Candyland got you thinkin'. You got yourself a 'Marvelously' big head, all pun intended.  
  
Clark just laughs.  
  
PETE  
  
So, what's the deal? You gonna ask her out, or what?  
  
CLARK  
  
I don't know. It's. complicated.  
  
PETE  
  
Why, because of Lana?  
  
CLARK  
  
::shakes head:: No, that's not it.  
  
PETE  
  
Then, why's it complicated?  
  
CLARK  
  
I don't know. It's just.  
  
Clark appears torn. It's obviously a sensitive subject for him but, clearly, something inside him wants to talk.  
  
CLARK  
  
Every time I ever get close to someone, something gets in the way. It's either a meteor rock or a natural disaster but, it's always something.  
  
PETE  
  
You have had a rather unparalleled string of bad luck with the ladies. That much is for sure.  
  
CLARK  
  
At first, I was just so frustrated, ya know? But, then I started thinking that maybe the real reason all my dates turn to crap is because I can never really be myself around anyone. I started thinking how much easier it would be if. if they just knew.  
  
Clark diverts his eyes, leaning back in his chair.  
  
PETE  
  
You're not thinking about telling her, are you?  
  
CLARK  
  
Pete, how can I ever have a serious relationship with someone when there's this whole other side to me that they don't even know about?  
  
PETE  
  
::nods:: I see your point.  
  
CLARK  
  
I always have to be so careful around everyone all the time. It's always there, hanging over my head.  
  
Clark shakes his head in frustration, crushing a few of the potato chips on his plate.  
  
CLARK  
  
I know it wasn't real but, we were both there. It was the Spring Formal all over again and it was just the two of us and she knew. everything. The secret was out but, when she looked at me, she still saw me, Clark Kent. She didn't look at me any differently. She didn't care. We just. danced.  
  
The memory replays in Clark's mind as Pete listens.  
  
CLARK  
  
She wrapped her arms around me. she laid her head against my chest and.  
  
PETE  
  
It felt good.  
  
CLARK  
  
::nods:: Yeah, it did.  
  
Pete let's Clark reminisce silently to himself for a second more.  
  
PETE  
  
You know, Clark, you're my brother. You know that. And Chloe's my girl. You know, I'm all for the both of you hookin' up.  
  
CLARK  
  
But.?  
  
PETE  
  
But, I know you. and I know your heart's been skippin' beats for Lana Lang ever since she offered you her Oreo cookies because you got embarrassed, and started crying, after you fell when the monkey bars broke your first day at Smallville Elementary. You know, now that I think about it, that makes a whole lot more sense now. You tore that bar clear through the wood.  
  
CLARK  
  
I still care about Lana, Pete. It's just.  
  
PETE  
  
You don't know how she'd react if you told her.  
  
CLARK  
  
::shakes head:: No, that's not it at all.  
  
PETE  
  
Look, man, if you have feelings for Chloe, I say go for it. If you two got together, that'd be, like, the greatest thing ever. Just don't tell me that she hasn't been your number two for a while now.  
  
Clark tries to feel insulted but, he knows Pete's right.  
  
PETE  
  
Chloe is pretty, smart, funny, and worships the ground your spaceship hovers over. More importantly, you already know how she'd react if you told her the truth. All I'm saying is, before you do anything, make sure you're doing it for the right reasons. Don't make her your fallback plan and don't do it because it's the sure thing. That's not fair to her and it's not fair to you.  
  
Clark carefully considers his friend's words.  
  
PETE  
  
Now, do me a favor and pass me the shaker.  
  
Pete motions towards the salt shaker.  
  
PETE  
  
My art needs salt.  
  
Clark laughs and passes his friend the salt.  
  
EXT. LEX'S MANSION - DAY  
  
The sun shines brightly over top of Lex's mansion, a sea of clear blue settling into the finer nooks and crannies of the ancient architecture.  
  
INT. LEX'S MANSION - LEX'S BEDROOM  
  
Lex sleeps calmly in his overly lavish bed, his arm draped over the lovely Dr. Helen Bryce. As her eyes flutter open, she gently pushes some stray strands of hair from her face with her hand, which protrudes from the cuff of one of Lex's finer dress shirts.  
  
Reading the time off the clock hanging on the far wall, she sighs. Quietly, she pries herself away from his bare chest, careful not to disturb him. Pressing both hands to the bed for leverage, she swings her feet over the edge and starts to stand when she is, suddenly, pulled back down.  
  
Helen laughs an adoring laugh, half-heartedly objecting to her capture.  
  
HELEN BRYCE  
  
Lex, I have to get ready.  
  
Softly, Lex walks his lips up her neck. She smiles widely, excited, goosebumps crawling up her back. Kissing his way up from her neck, to her lips, Lex presses his lips to hers.  
  
LEX  
  
Good morning.  
  
HELEN BRYCE  
  
::smiles:: Mmm. Good afternoon.  
  
LEX  
  
Either way, you make it good.  
  
HELEN BRYCE  
  
And you made last night wonderful.  
  
Lex starts gently nibbling at the base of her neck.  
  
LEX  
  
Ready for the sequel?  
  
HELEN BRYCE  
  
I can't. I have to get ready. My shift starts in an hour.  
  
Another half-hearted objection.  
  
LEX  
  
So, call in sick. Stay here with me.  
  
Helen's eyes glaze over as Lex continues to kiss her.  
  
HELEN BRYCE  
  
One of the many disadvantages of working at a hospital; if you're not sick enough to be in the hospital, it means you're healthy enough to work there.  
  
LEX  
  
You're sure you can't stay?  
  
Under the sheet, one of Lex's hands begins to wander. She jumps, laughingly smacking him with a pillow.  
  
HELEN BRYCE  
  
::smiling:: Lex.  
  
She looks him straight in the eyes, holding his wrists at bay.  
  
LEX  
  
Yes, darling?  
  
HELEN BRYCE  
  
I have to get ready for my shift.  
  
She tries maneuvering her way out of the bed but, he grabs her by the sleeve. She manages to slip away but, not before he pulls his shirt completely off her. She quickly retreats to the bathroom, laughing all the way.  
  
A steady hiss sounds from within the bathroom as Helen begins her shower. On the bed, Lex holds the shirt to his chest like it was the woman herself, smelling the collar. For a while, he simply lies there silently.  
  
On a night stand adjacent to the bed, a cell phone rings. The custom ringer fittingly plays the main theme to "2001: A Space Odyssey". With a huff, Lex turns over and answers the phone.  
  
LEX  
  
Lex Luthor.  
  
Lex listens to the voice on the other end and, after a few seconds, sits up with his brow clenched.  
  
LEX  
  
What?  
  
Another short pause as Lex listens to the phone.  
  
LEX  
  
Why? Where are you?  
  
Lex turns his attention toward the large sliding door across from the bed, which doubles as a massive window. Rays of sun pour into the room from around the edges of the large drawn curtain. Standing up, Lex gets out of the bed and heads for the door.  
  
Lex pulls a chain and opens the curtains, taking a quick look outside. The cell phone still firmly pressed against his ear, he slides the door open and steps out onto the balcony, which overlooks the entire Luthor estate. He looks around, even taking a quick glance over the balcony edge.  
  
LEX  
  
Okay, I'm on the balcony. Now, where are you?  
  
MERCY GRAVES  
  
Turn around and look up.  
  
Lex pivots quickly, looking up. Behind and above him, Mercy Graves sits comfortably on the roof. He huffs again, folding up the cell.  
  
LEX  
  
What are you doing here?  
  
Mercy smiles and hops down next to him.  
  
MERCY GRAVES  
  
I was in the neighborhood. I figured I'd drop in.  
  
Mercy takes a moment to admire the bedroom, prompting Lex to close the door.  
  
MERCY GRAVES  
  
Nice place you have here, Lex.  
  
LEX  
  
I told you never to come to the mansion. This had better be important.  
  
Mercy pulls a folder out from around her back and smiles.  
  
MERCY GRAVES  
  
I'm sorry. I couldn't resist. I just had to see the expression on your face when you saw these.  
  
Lex quickly takes the folder from her and opens it. Inside are several photographs of large, quite empty, airline hangars. LuthorCorp logos adorn the hangar walls.  
  
LEX  
  
What am I looking at?  
  
MERCY GRAVES  
  
You are looking at the inside of the LuthorCorp private airline hangars on the edge of Metropolis International Airport. Seven years ago, your father purchased these hangars from the military, for a rather substantial sum I might add. Since then, he has poured more than a billion dollars into LuthorCorp's aeronautics division, a large chunk of that being devoted to building an entirely new fleet of planes for LuthorCorp Airlines.  
  
LEX  
  
I don't need a history lesson. I'm well versed in my father's many economic exploits. Just get to the point.  
  
MERCY GRAVES  
  
Good things come to those who wait. Patience is, after all, a virtue, Lex.  
  
LEX  
  
Since when are you virtuous in any way, Mercy?  
  
MERCY GRAVES  
  
::insulted:: If you're going to be rude.  
  
LEX  
  
This isn't a convenient time. Tell me what you found.  
  
MERCY GRAVES  
  
Well, I did some digging into your father's financial records and I found something that you might find particularly interesting. During a time when almost every major airline in the country is on the verge of bankruptcy, LuthorCorp Airlines are, miraculously, reporting record profits.  
  
LEX  
  
How is that possible?  
  
MERCY GRAVES  
  
The very same question I asked myself. So, I figured I'd check the place out. For more than three weeks, I watched as no more than a single plane took off or landed from the LuthorCorp airport each day. Quite interesting considering your father supposedly has a small fleet at his disposal.  
  
LEX  
  
Go on.  
  
MERCY GRAVES  
  
Well, the questions continued to mount, so I took the liberty of inviting myself in for a little tour and, much to my surprise.  
  
Lex looks down at the pictures.  
  
LEX  
  
The hangars were empty.  
  
Mercy nods, satisfactorily.  
  
MERCY GRAVES  
  
Now, I clearly don't have the business sense of a Luthor but, how does an airline post an average profit margin of seventy million dollars a year, for the past five years, with only one plane? And, for that matter, where is this fleet of planes he supposedly had built four years ago?  
  
LEX  
  
You think it's a front?  
  
MERCY GRAVES  
  
I don't know what it is but, it shares airspace with Metropolis International. They must monitor every plane that comes in and out of that airport. So, why am I the only one asking any questions?  
  
Mercy waits for Lex to answer before presenting him with her theory.  
  
LEX  
  
Maybe no one else wants to ask.  
  
MERCY GRAVES  
  
::nods:: It 'is' an ex-military base.  
  
LEX  
  
Maybe dear old dad didn't exactly 'buy' the base from the military after all?  
  
MERCY GRAVES  
  
::nods:: A possibility.  
  
LEX  
  
How can we know for sure?  
  
MERCY GRAVES  
  
I don't know much about men but, I do know they don't like having their picture taken when they're in bed with their mistress. I say we shine a big ole spotlight on Lionel's little pet project. whatever it may be.  
  
LEX  
  
How?  
  
MERCY GRAVES  
  
You have a helicopter?  
  
It was more a statement than a question.  
  
LEX  
  
I have ten.  
  
MERCY GRAVES  
  
Mind if I borrow one?  
  
Lex goes to respond when a voice sounds from inside the room.  
  
HELEN BRYCE  
  
Lex?  
  
Lex turns as Helen, wearing a beautiful silk robe, walks up to the door and slides it open.  
  
HELEN BRYCE  
  
Lex? Were you just talking to someone? I thought I heard voices.  
  
He turns but, much to Lex's surprise, Mercy has disappeared from the balcony. Thinking on his feet, he shows Helen the cell phone.  
  
LEX  
  
Just called the office to check up on a few things, that's all.  
  
HELEN BRYCE  
  
Oh. All right.  
  
Helen steps out onto the balcony and gives him a quick kiss.  
  
HELEN BRYCE  
  
I'm gonna get dressed and head out, all right?  
  
LEX  
  
Okay.  
  
HELE BRYCE  
  
Love you.  
  
LEX  
  
Love you too.  
  
Lex watches Helen walk back into the room before turning, looking out over the balcony. He looks around for a second, searching for Mercy. He can't see her perched just beneath the balcony and out of sight but, he knows she's still there. somewhere.  
  
LEX  
  
Whatever my father's hiding out there, I want to know what it is. Keep my name out of it but, do whatever it takes to get it out into the open.  
  
Mercy smiles from her perch as Lex turns and heads back into the room, closing the door behind him.  
  
INT. CHLOE'S HOUSE - LANA'S ROOM  
  
Tens of photographs lay spread out across Lana's desk, covering the entire surface. Several more balance carefully on the shelves of a nearby bookcase and on top of a rather expensive looking stereo unit. In fact, almost every surface in the room, including the floor, is blanketed with old pictures.  
  
The common theme of all the photos is a young Lana Lang with the man and woman she once called Mom and Dad. Most pictures have either Laura or Lewis Lang, or both, enjoying one activity or another with their young child, proud to be youthful parents to a beautiful young girl.  
  
In the middle of the floor, sitting with her legs crossed, Lana removes a brand new photo album from it's plastic covering, tossing the leftover plastic to the far corner of the room, on top of a pile of old, worn, albums. She meticulously begins choosing various pictures to fill the new album's pages.  
  
As Lana slides one of the photographs into the plastic envelope, a knock comes at the door. Opening the door slightly, Chloe slips her head into the room, not waiting for a response.  
  
CHLOE  
  
Hey, I'm gonna head to the store to pick up some more decorations for the fundraiser on Saturday. You want to come with? I hear there are some serious sales going down at the mall.  
  
Lana smiles gently, shaking her head once as she looks up to respond.  
  
LANA  
  
No, thanks. I'm pretty busy here.  
  
Chloe looks around at all the photographs spread across the room, her eyes widening.  
  
CHLOE  
  
Apparently.  
  
Chloe slips inside the room and carefully tip toes her way over to Lana's bed.  
  
CHLOE  
  
What is all this?  
  
Chloe collects a few pictures from the edge of the bed, clearing a spot for her to sit.  
  
LANA  
  
Just a little trip through my time machine, I guess.  
  
CHLOE  
  
Looks like it blew up on ya.  
  
LANA  
  
I went sifting through one of the albums yesterday when I noticed some of the bindings were beginning to crack. These pictures are really all I have left of my parents. I didn't want any of them to get damaged so, I picked up some new albums to put them in.  
  
CHLOE  
  
Oh, that's cool  
  
Lana takes a quick glance around the room.  
  
LANA  
  
I guess I kind of got caught up in the whole thing. It feels like I've been at it for hours and I haven't even put any away yet.  
  
Chloe nods.  
  
LANA  
  
I'm sorry, if you want some company, I can finish this later.  
  
CHLOE  
  
::shakes head:: No, it's all right. I don't mind going by myself. I just figured you wouldn't mind getting out of the house for a while, get some fresh air. It's actually pretty nice out.  
  
LANA  
  
Well, I should be done with this in a couple of hours. Either way, I'm probably gonna head over to the Talon soon anyway, though. I don't trust Jana enough to leave her all afternoon. Bring the decorations by later and I'll help you put them up.  
  
CHLOE  
  
::smiles:: Will do, partner.  
  
Chloe stands, placing the pictures back down on her bed. She then heads for the door when she spots a lone picture in the bottom of a garbage pail near the desk. It's a picture of a young Lana and her mother.  
  
Chloe picks the picture up out of the garbage pail and tip toes back over to Lana.  
  
CHLOE  
  
Hey, Lana, this was in the garbage. It must have fallen in off the desk by accident.  
  
Lana takes the picture, from Chloe, and immediately puts her hand to her chest in relief.  
  
LANA  
  
Oh my god, Chloe, thank you so much. This is one of my favorite pictures of my mother.  
  
CHLOE  
  
What's it from?  
  
LANA  
  
This was actually taken in Metropolis. I remember because we went there for a weekend when the circus was in town. My Dad.  
  
Lana hesitates, stumbling over the word 'dad'.  
  
LANA  
  
. uhm, Lewis Lang. his father used to take him when he was a kid. So, he figured we could do the same. I don't remember too much about it except that it was the first time I'd ever seen an elephant. We were in the front row, and my mother had bought me some popcorn, when this elephant came right up to me and stole the bag right out of my hands. I was scared to death. I was screaming. To this day, I've never been able to bring myself to watch Dumbo.  
  
They share a laugh.  
  
LANA  
  
My mother finally got me to calm down by promising me that, after the circus, we could go and get ice cream, from the ice cream man, and that I could have as much as I wanted. Well, you know me and sugar.  
  
CHLOE  
  
::shakes head:: You're still the only one I've ever met who calms down after eating candy.  
  
LANA  
  
I passed out right there in the booth of the ice cream parlor. My father took this picture of me with my head on my mother's shoulder.  
  
CHLOE  
  
That's a really great memory, Lana.  
  
Lana smiles, slipping the photograph into one of the plastic pages.  
  
LANA  
  
Which is exactly why it should be in here.  
  
Chloe smiles and turns back for the door.  
  
CHLOE  
  
Okay, I'm gonna get going. I'll see you at the Talon.  
  
LANA  
  
See ya later.  
  
Chloe leaves as Lana continues admiring the photograph.  
  
INT. CHLOE'S HOUSE - LIVING ROOM  
  
Chloe joyfully skips the bottom two steps on her way downstairs. Gathering her bag from off the living room sofa, she heads for the closet and grabs a jean jacket from inside. She slips an arm through one of the sleeves as she opens the front door with the other.  
  
Clark inhales quickly, startled by the door opening unexpectedly.  
  
CHLOE  
  
Clark?  
  
She's clearly surprised to see him, one arm of her jacket dangling at her side.  
  
CLARK  
  
Chloe! Hi, uhm, wha-what's goin' on?  
  
CHLOE  
  
I was just going out for some shopping.  
  
CLARK  
  
Oh. well, that's cool.  
  
Confused, Chloe finishes putting on her jacket.  
  
CHLOE  
  
Lana's upstairs rummaging through some old family albums.  
  
Fixing the collar on her jacket, Chloe moves to the base of the stairs.  
  
CHLOE  
  
I'll get her.  
  
Clark stops her.  
  
CLARK  
  
Actually.  
  
Chloe pauses, looking at him over her shoulder.  
  
CLARK  
  
I came to see you.  
  
Again, Chloe seems surprised, albeit quite pleasantly.  
  
CHLOE  
  
Oh.  
  
She smiles and walks back towards the door.  
  
CHLOE  
  
::jokingly:: Well, to what do I owe the pleasure?  
  
Clark stutters on the words, clearly uncomfortable.  
  
CLARK  
  
Well, I. uh. Well, we haven't really been able to spend a lot of time together recently and so, so, I thought maybe I'd come over and we could. ya know, spend some time together.  
  
Clark quickly adds.  
  
CLARK  
  
If. If you're not busy.  
  
CHLOE  
  
::smiles:: I'd like that, Clark.  
  
CLARK  
  
I mean, if you're going out, we could do this later. I mean, I could come back.  
  
CHLOE  
  
::laughs:: Or you could come with me.  
  
It takes a second for that option to actually sink in. He'd already half retreated to the back of the porch.  
  
CLARK  
  
::nods:: I could do that too.  
  
Chloe steps out of the house and closes the door.  
  
CHLOE  
  
I was just heading over to the mall to pick up some decorations for the fundraiser on Saturday. There's this new, cheap, party place next to Macy's.  
  
CLARK  
  
::nods:: I like the mall.  
  
CHLOE  
  
Wait a minute. I thought all guys hated the mall.  
  
CLARK  
  
Not when they have a pretty girl on their arm, they don't.  
  
As Chloe steps up next to him, he raises his arm in front of him, gentlemanly offering to escort her down the porch steps and to the car. Smiling, she slips her arm through his.  
  
CHLOE  
  
Careful, Clark Kent, say more things like that and you might not get it back.  
  
Clark smiles as he escorts Chloe to her car. Ever the gentleman, he opens the door for her as she gets in.  
  
From her bedroom window, Lana Lang observer Clark and Chloe drive off together down the road.  
  
INT. LEX'S MANSION - LEX'S OFFICE  
  
The crease in Lex Luthor's forehead shows his general disgust for the mustached man on the other side of the desk.  
  
LEX  
  
People make mistakes, Dr. Julius, just not people who want to work for me.  
  
JULIUS  
  
I am truly sorry, Mr. Luthor.  
  
LEX  
  
Yes, well, unfortunately for you, apologies aren't worth ten million dollars, Doctor. My lawyers will be contacting you by the end of the week. Now, get out.  
  
Lex turns in his desk chair and stands, heading for his office mini-bar. The dejected Dr. Julius sees himself out as Noah, one of Lex's assistants, enters the room just as Julius exits.  
  
LEX  
  
I'm going to warn you right now, Noah. It'd better be good news or you can turn around and follow the good doctor out.  
  
Lex pours himself a drink and sips it generously.  
  
NOAH  
  
I'm afraid Dr. Crawford reports that their latest attempts have failed. They've made. no progress.  
  
Lex smirks at the news. He turns back for his desk and sits back down.  
  
LEX  
  
Why am I not surprised?  
  
Noah, concerned, steps right up to the desk.  
  
NOAH  
  
He wished for me to relay his growing concerns regarding the matter. He also requested, for the third time, that he be allowed to bring in a sample of LuthorCorp's antidote for further study.  
  
LEX  
  
And, for the third time, request denied.  
  
NOAH  
  
Dr. Crawford insists that your condition will continue to worsen. He is of the belief that it's in your best interests to.  
  
LEX  
  
Dr. Crawford should keep his concerns on his work and leave me to worry about what is and isn't in my best interests.  
  
NOAH  
  
Dr. Crawford is only concerned for your well being, sir.  
  
LEX  
  
He and his staff make up the finest medical minds in the field of disease study. I have the utmost confidence that they'll find a cure.  
  
NOAH  
  
With respect, sir, a cure has already been found.  
  
LEX  
  
Found? My father "found" the cure because he engineered the disease in the first place and he did it by using me, and my friends, as his guinea pigs. This is a man who gets his kicks by dangling life and death in front of people's faces, by poisoning an entire country just so he can turn a profit.  
  
NOAH  
  
I realize that, Mr. Luthor. I just.  
  
Noah hesitates, realizing his place. Curious, though, Lex asks him to continue.  
  
LEX  
  
Just what?  
  
NOAH  
  
I just wonder why you insist on punishing yourself for his crimes.  
  
Lex thinks to himself for a short moment. Standing, he walks over to a brilliant gold and platinum chess board that has been setup with all the pieces in their starting positions. The board sits on a small table, the dimensions of the top only an inch wider than the board on each side. There are no chairs around the board, and he stands over it confidently.  
  
LEX  
  
Do you like chess, Noah?  
  
Noah reluctantly makes his way over to Lex.  
  
NOAH  
  
Can't say I'm quite fond of the game, sir.  
  
LEX  
  
::smiles:: Then, you weren't any good at it, were you?  
  
NOAH  
  
No, not really.  
  
LEX  
  
I find that the people who aren't any good at it, tend not to like it. It's a game of patience, strategy, and foresight.  
  
Lex moves one of the gold pawns.  
  
LEX  
  
I excelled at it when I was younger. I remember, I used to spend hours practicing and reading up on the various strategies involved. It's a surprisingly intricate game for something so simplistic in nature.  
  
Lex moves one of the platinum pawns and proceeds to go back and forth from each side, playing an entire game with himself as Noah looks on.  
  
LEX  
  
I was a state champion at twelve. I still remember the championship match. I beat my opponent clean. It wasn't even close. I was so excited because I would be moving on to the national tournament. That's when my father took me aside.  
  
Lex looks up at Noah briefly, just to gauge the man's attention. It's intent.  
  
LEX  
  
I had never played my father before. It was our first ever match and I was scheduled to head off to compete in the nationals the next day.  
  
Lex meticulously maneuvers the chess pieces on the board, removing several more platinum pieces from the board than gold pieces.  
  
LEX  
  
I remember every single move from that game. "Chess is a game of anticipation," he kept saying. I was so proud, so confident, until we were about half way through. That's when I saw it.  
  
Lex continues to move play the game in front of him with several more gold pieces now falling than platinum.  
  
LEX  
  
I did everything I could to get away but, it was all just damage control. I thought I was the best there was and he had me trapped. The strategy was brilliant and I saw every one of his moves three turns beforehand. There still wasn't anything I could do about it. I was dead.  
  
Lex takes one of the platinum rooks and starts to move it towards the remaining gold knight.  
  
LEX  
  
And that's when he did it.  
  
Lex stops and, instead of taking the knight, moves the rook off to another spot on the board.  
  
LEX  
  
I knew his strategy. He'd played me perfectly but, for some reason, he didn't take the knight. About a million thoughts started racing through my head. This was my opportunity, I thought to myself. I didn't think I'd get the chance but, he made one bad move and I was back in the game.  
  
Lex starts moving the pieces again.  
  
LEX  
  
A couple turns later, I was back on the offensive and there he was, in full retreat. It was like I had been given a new life, a second chance.  
  
Lex furiously moves the pieces about the board, removing a few more platinum pieces.  
  
LEX  
  
And then.  
  
Lex takes the platinum queen and moves her across the board. Suddenly, the game comes to a screeching halt.  
  
LEX  
  
The game was over.  
  
Lex tips over the gold king.  
  
LEX  
  
He smiled at me. He said, "Good game, son. You almost had me." Then, he got up and left.  
  
Lex smirks again, admiring the game board. Noah appears intrigued.  
  
LEX  
  
::shakes head:: I never had him. It was never really close at all. He left my knight on purpose, to prove to me just how in control he was. He could beat me, he could give me life and, just as easily, he could take it right back.  
  
Lex faces Noah.  
  
LEX  
  
My father is the disease, Noah, not this damned protein inside me. He controls the sickness and he controls the cure and, because of that, he controls me.  
  
NOAH  
  
And by not taking the antidote, you're letting him kill you.  
  
LEX  
  
No, I'm liberating myself from him.  
  
Lex goes back to his desk.  
  
LEX  
  
I'm going to live, Noah. Dr. Crawford and his staff are going to find the cure and they're going to do it without my father's help. Then, I will have beaten the disease and I will have beaten him.  
  
NOAH  
  
And what if they don't find it, sir? What then?  
  
LEX  
  
Then. I lose.  
  
Lex's rather cold statement makes Noah uneasy. There is a short silence as Noah thinks of something to change the subject of the conversation.  
  
Lex pivots his chair, turning away from Noah.  
  
NOAH  
  
Dr. Crawford believes it will take some time. time that you may or may not have at this point. He wants to bring someone in, a specialist from Gotham City. He's a bio-chemist with some interesting theories regarding forced remission, a type of disease stasis. Dr. Crawford believes he might be able to help in determining a way to slow the progression of the sickness.  
  
LEX  
  
What's his name?  
  
NOAH  
  
His name is Fries, Doctor Victor Fries.  
  
LEX  
  
::nods:: I'll make the necessary arrangements with Gotham General. Tell Crawford to expect Fries in the morning.  
  
Noah nods, respectfully, and sees himself out, leaving Lex to his drink.  
  
EXT. GRAVEYARD ENTRANCE - DAY  
  
Lana Lang drives her car up to the entrance of the cemetery. Pulling the key out of the ignition, she looks longingly out over the neat rows of tombstones stretching over the horizon. She takes a breath and steps out of the car.  
  
A click and the trunk opens up, revealing a suitcase inside. As a sullen Lana pulls it out, a sales tag dangles from handle. The trunk closes and there is darkness.  
  
Lana takes slow and deliberate steps as she marches through the stone garden with the suitcase by her side. Drifting off to the side of the rows, Lana passes through the dangling branches of a weeping tree. The leaves part around her hair like water from over a fall.  
  
Expressionless, Lana places the suitcase, on it's side, in front of two stones with the names "Lewis" and "Laura" etched into the faces. Two, near simultaneous, clicks sound as Lana opens the locks of the suitcase. She unfolds it over top the plots of her late parents, revealing several new photo albums inside filled with pictures.  
  
Lana stands in front of the suitcase. Her facial expression has gone completely cold, as if the emotion has been drained from her face.  
  
LAURA  
  
You're willing to forget?  
  
Amazingly, Laura Lang suddenly appears standing next to Lana, on her left. Stone faced, the young teen doesn't even bother to acknowledge her. Lana merely stares down at the tombstones.  
  
LANA  
  
What's to remember?  
  
On Lana's right, Lewis Lang miraculously appears.  
  
LEWIS  
  
Family.  
  
LANA  
  
You weren't family. You were a lie.  
  
LAURA  
  
That's not fair.  
  
LANA  
  
No.  
  
Lana removes a matchbook out of her pocket. Pulling a single match from the strip, she prepares to strike it.  
  
LANA  
  
It isn't fair.  
  
Lana strikes the match and drops it into the suitcase. Obviously pre-soaked in some sort of flammable liquid, the photo albums burst into flames.  
  
LAURA  
  
::sad:: Oh, Lana.  
  
Lana Lang turns away from the fiery suitcase and heads back towards her car. Lewis and Laura turn and watch their daughter walk away before they both disappear, returning to whatever oblivion they came from.  
  
EXT. SAND HILL MALL - DAY  
  
A large parking lot surrounds the Sand Hill Mall where eager shoppers from Smallville and other neighboring towns file in for an afternoon of spending.  
  
INT. SAND HILL MALL - FIRST FLOOR  
  
Clark blinks his eyes twice from behind the abnormally large lenses. The brown frames of the glasses practically take up the entire upper half of his face, a trait which Chloe finds quite amusing. She tries to keep herself from giggling.  
  
CLARK  
  
I look stupid.  
  
CHLOE  
  
No you don't.  
  
CLARK  
  
Yes, I do.  
  
Clark straightens his stance and turns away from the mirror. He and Chloe stand in front of a kiosk selling various fashion pieces such as glasses, bracelets, and earrings.  
  
CLARK  
  
I look stupid.  
  
CHLOE  
  
You have to get into the spirit of the glasses. They're retro.  
  
CLARK  
  
They also weigh about ten pounds.  
  
As the glasses slip slowly down his nose, Clark uses his index finger to push them back up.  
  
CLARK  
  
They keep sliding down my nose.  
  
Chloe shakes her head and pulls the glasses off of him.  
  
CHLOE  
  
Fine, you don't like them.  
  
She gets up on her tip toes and places another pair of glasses on him. These are black rimmed and much sleeker than the others.  
  
CHLOE  
  
Try these then.  
  
Clark takes them back off.  
  
CLARK  
  
::reluctant:: Maybe I'm just not a 'glasses' person. I don't think they look good on me.  
  
CHLOE  
  
Clark, if you put a dead rat on your head it'd look good. Besides, you don't agree to go to the mall with a teenage girl and expect her not to play dress up. It's just not done. Now, be a good little Ken doll and put on the glasses.  
  
Clark sighs but, reluctantly obliges. Placing the glasses over his eyes, he looks back into the mirror. Chloe also looks at him through the mirror.  
  
CHLOE  
  
Oh my god, those are so totally you.  
  
CLARK  
  
::skeptical:: I don't know.  
  
CHLOE  
  
What do you mean you don't know?  
  
CLARK  
  
I thought it was bad to have glasses; the whole 'four-eyes' thing.  
  
Chloe shakes her head and places her hand on his shoulder.  
  
CHLOE  
  
You're so young.  
  
Clark turns away from the mirror to face her.  
  
CHLOE  
  
It's a fashion statement, Clark. It shows how you've been able to transcend the customary societal stereotypes and are confident enough, with your own self-image, that you're willing to wear whatever you want.  
  
Clark repeats her last statement in his head a couple of times, desperately searching for the logic.  
  
CLARK  
  
But I don't want to wear glasses. You're kind of. telling me too.  
  
CHLOE  
  
That's because you don't know anything about fashion.  
  
CLARK  
  
I don't?  
  
CHLOE  
  
No offense, Clark, but just look at the way you dress.  
  
CLARK  
  
What's wrong with the way I dress?  
  
CHLOE  
  
Well, nothing really but, you're always wearing the exact same thing. I mean seriously, the primary colors schtick was cool for about a month.  
  
CLARK  
  
Hey, I have a different outfit for every day of the week.  
  
CHLOE  
  
You what?  
  
CLARK  
  
Yeah, that way I maximize the number of days between when I wear the same outfit twice.  
  
Clark smiles, as if quite proud of himself for his little weekly wardrobe calendar.  
  
CHLOE  
  
So, you mean, like, you know what you're wearing. two Wednesdays from now?  
  
CLARK  
  
On Wednesdays I wear blue jeans, my red plaid shirt and, if it's cold, my brown jacket.  
  
Chloe looks as if she's about ready to have a seizure.  
  
CLARK  
  
What? Why are you looking at me like that?  
  
Finally, she shakes her head and smiles. Taking the glasses from him, she puts them back on the rack and places her hand on his cheek.  
  
CHLOE  
  
You're so funny.  
  
She turns and starts walking, leaving Clark with a confused look on his face.  
  
CLARK  
  
What?  
  
Clark hurries to catch up, coming along side her.  
  
CHLOE  
  
I'm hungry. You hungry?  
  
CLARK  
  
Um, I guess.  
  
CHLOE  
  
I'm starving. I haven't had anything to eat all day. I could kill for a cheeseburger.  
  
Clark shakes his head and laughs a bit.  
  
CLARK  
  
You're amazing.  
  
CHLOE  
  
I am?  
  
CLARK  
  
We came here to get decorations for the fundraiser on Saturday and, meanwhile, you've been here for.  
  
Clark checks his watch.  
  
CLARK  
  
.three hours, been in fifteen different stores, and spent almost three hundred dollars and we haven't even been on the same side of the mall as Party Palace yet. How do you do it?  
  
CHLOE  
  
Three hours is nothing. A couple of weekends ago, Lana and I spent almost seven hours here and we only went into three different stores.  
  
CLARK  
  
What'd you buy?  
  
CHLOE  
  
I bought these sandals.  
  
Chloe stops for moment to show off her sandals, then, starts walking again.  
  
CHLOE  
  
.and I think Lana bought some lipstick.  
  
CLARK  
  
You were here for seven hours and all you bought was a pair of sandals and a lipstick?  
  
CHLOE  
  
We got some lunch too.  
  
CLARK  
  
Like I said, amazing.  
  
CHLOE  
  
I think it must be chromosomal.  
  
CLARK  
  
Chromo-what?  
  
CHLOE  
  
Chromosomal. You know, "XX" and "XY".  
  
Clark stares at her with a blank expression on his face.  
  
CHLOE  
  
You are conscious at least some of the time during class, are you not?  
  
CLARK  
  
Which one would this be?  
  
CHLOE  
  
Biology.  
  
CLARK  
  
Then no.  
  
CHLOE  
  
::shakes head:: And yet you're still getting straight A's in every class. Now, that's amazing.  
  
CLARK  
  
Not really. I cheat a lot.  
  
Chloe stops in her tracks to pull her chin up off the ground. Clark smiles as he turns to face her.  
  
CLARK  
  
I'm kidding.  
  
Chloe folds her arms across her chest, raising an eyebrow, her mouth still slightly ajar. Laughingly, Clark walks up to her and places his index finger under her chin and pushes up, shutting her mouth for her.  
  
CLARK  
  
Smile, Chloe.  
  
Clark transfers a couple of bags from his right hand into his left and then wraps his right arm around her, over her shoulder.  
  
CLARK  
  
It increases your face value.  
  
She laughs and shakes her head, elbowing him in the side. They continue walking.  
  
EXT. THE TALON - DAY  
  
Pete Ross walks down the sidewalk leading to the Talon, window shopping along the way. His eye distracted by a particularly nice looking leather jacket in one of the windows, he slams right into a man stepping out of a nearby shop.  
  
PETE  
  
Oh, shoot, I'm so sorry. I didn't see you.  
  
The man shakes his head and gives Pete a quick snort reply before walking off.  
  
Continuing on his way, Pete makes his way to the Talon front entrance. Quickly, he rushed to open the door for several, rather attractive, young women leaving at the same time.  
  
PETE  
  
::smiling:: Allow me, ladies.  
  
They all thank him courteously and make their way down the sidewalk. Admiring them as they walk away, Pete smiles to himself.  
  
PETE  
  
::under breath:: Daaaaamn.  
  
Pete shakes his head and steps inside the Talon.  
  
INT. THE TALON  
  
Lana Lang stands behind the coffee bar, drying several mugs with a clean towel, carefully observing the various happenings of the coffee house. She smiles as she sees Pete approach.  
  
LANA  
  
Hey, Pete. What can I get ya?  
  
PETE  
  
The usual.  
  
Lana pauses a minute to think.  
  
LANA  
  
::confused:: You have a usual?  
  
Pete freezes, looking slightly embarrassed. Taking a quick, sheepish, glance to each side, he leans over the bar.  
  
PETE  
  
::whisper:: Two chocolate chip cookies and a glass of milk.  
  
Lana laughs a bit and reaches for the cookies.  
  
LANA  
  
You got it.  
  
PETE  
  
Hey, you seen Clark around? He owes me a little one on one.  
  
Pete pretends to dribble and shoot an imaginary basketball.  
  
LANA  
  
I think he and Chloe headed out to the mall to check out that new party place. She wanted to pick up some more decorations for the fundraiser on Saturday.  
  
She places the cookies in front of Pete and pours him a glass of milk.  
  
LANA  
  
But that was a while ago.  
  
PETE  
  
::surprised:: Clark went to the mall? He hates the mall. He still makes his mother buy his shirts for him.  
  
LANA  
  
Then going with Chloe was a suicide mission. She gets mail there, ya know.  
  
They share a laugh as Pete gloms his first cookie.  
  
PETE  
  
So, what you up to? Anything special?  
  
LANA  
  
::shrugs:: Here till close, as usual. Chloe's supposed to come by with the decorations later. I promised I'd help her put them up. With any luck she'll be here before midnight.  
  
PETE  
  
::sarcastic:: Isn't Spring Break fun?  
  
LANA  
  
That's what they tell me.  
  
She rolls her eyes.  
  
PETE  
  
Well, it would help if there was something to do in this town.  
  
LANA  
  
Bored?  
  
Pete shakes his head adamantly.  
  
PETE  
  
No, not bored. Bored is for people with nothing to do, and people with nothing to do might as well be at home vacuuming, or dusting, or Windexing every window in the house. At least, so says my mother.  
  
LANA  
  
::laughs:: Okay, so if you're not bored, what are you?  
  
Pete thinks about it for a moment.  
  
PETE  
  
Under-entertained.  
  
LANA  
  
Oh, I see.  
  
PETE  
  
Big difference between that and bored, huge difference. In fact, the hugeness of the difference between that and bored is. it. it's just enormous.  
  
LANA  
  
The hugeness?  
  
PETE  
  
Yeah, me speaks well English.  
  
LANA  
  
Hey, you know, you and I should do something together, just you and me.  
  
Pete hesitates for a second, almost choking on his second cookie.  
  
PETE  
  
We should?  
  
LANA  
  
Yeah, why not? Why should Chloe and Clark get to go out and have all the fun? We should go see a movie together or something.  
  
PETE  
  
A movie?  
  
LANA  
  
When have you and I ever gone out, just the two of us? Never. We're always together because we're both friends with Chloe and Clark but, it's like that's it. Why should they have to be around for us to hang out?  
  
Pete thinks about her proposal for a second, then nods.  
  
PETE  
  
You know, you're right. We don't need them to have fun.  
  
LANA  
  
::nods:: Exactly.  
  
PETE  
  
I mean, it's not like we don't know 'how' to have fun without them.  
  
LANA  
  
Of course not.  
  
Pete nods to himself a couple of time.  
  
PETE  
  
Yeah, you know what? We should do something together. It's not like we're only friends because of them.  
  
LANA  
  
Pfft. no.  
  
PETE  
  
Yeah.  
  
Lana and Pete nod to each other a few times from across the coffee bar as they each try and think of something. A long, awkward, pause ensues.  
  
LANA  
  
So, what do you want to do?  
  
Pete momentarily draws a blank.  
  
PETE  
  
Well, you suggested the movies earlier.  
  
LANA  
  
::nods:: We could go to the movies.  
  
PETE  
  
What do you want to see?  
  
Another pause as, this time, Lana thinks to herself silently.  
  
LANA  
  
What's playing? Anything good?  
  
PETE  
  
Uh. "Chicago"?  
  
LANA  
  
::shakes head:: I don't like musicals, something about people just spontaneously bursting into song like that. It just isn't real.  
  
PETE  
  
Yeah, I don't really like musicals either.  
  
Another long pause as they each think.  
  
LANA  
  
What about "Bringing Down the House"? I heard that was funny.  
  
PETE  
  
Nah, I don't really like any of the actors in it.  
  
LANA  
  
I like Queen Latifah.  
  
PETE  
  
Yeah, I guess she's funny.  
  
Another pause.  
  
PETE  
  
What about that new Vin Diesel movie? You like him, don't you?  
  
LANA  
  
::shakes head:: Not really.  
  
PETE  
  
::shocked:: You don't?  
  
LANA  
  
No, Chloe likes Vin Diesel. She's got posters of him up in her room. He's part of the "Wall of Wow".  
  
PETE  
  
"Wall of Wow"?  
  
LANA  
  
Yeah; Vin Diesel, Keanu Reeves, Brad Pitt, et cetera.  
  
PETE  
  
Ah.  
  
LANA  
  
Isn't there anything else out?  
  
PETE  
  
I don't know. I can't think of anything.  
  
LANA  
  
Well, maybe we could do something else.  
  
PETE  
  
Like what?  
  
Lana goes to answer but, nothing comes out. They each think to themselves for a few more seconds before finally coming to the same conclusion.  
  
LANA  
  
You know, Chloe always comes up with fun things to do. Let's just ask her when they get back.  
  
PETE  
  
::nods:: Yeah.  
  
Lana goes back to drying her mugs as Pete finishes his glass of milk.  
  
INT. SAND HILL MALL - FOOD COURT  
  
A puddle of either grease or sweat expands outward around the nametag. The letters etched out across the gold foil read "Chuck".  
  
CHUCK  
  
::unenthusiastic:: Hello and thank you for choosing Sandy's. May I take your order?  
  
Chuck's greasy blonde hair spills out from under a hotdog shaped, cardboard, hat. He looks about as happy to be behind the cramped counter as a cat in a bathtub.  
  
Chloe looks up at Clark, a short line of people behind them. She waits for him to order but, ever the gentleman, he defers to her.  
  
CLARK  
  
Ladies first.  
  
CHLOE  
  
I'd like cheeseburger, with everything on it, and. I think I'm also in the mood for some of those stuffed mushrooms too.  
  
CLARK  
  
You are hungry  
  
CHUCK  
  
Would you like anything to drink with that?  
  
CHLOE  
  
Yeah, give me a. an orange juice.  
  
CLARK  
  
An orange juice? With a cheeseburger?  
  
CHLOE  
  
Freshly squeezed if you have it.  
  
Chuck responds to that by simply staring at her blankly.  
  
CHUCK  
  
::loud:: One number two and an orange juice!  
  
Clark and Chloe each take a step back as he shouts in their faces.  
  
CHUCK  
  
And what will you be having today, sir?  
  
CLARK  
  
Uh, let's see, I think I'll have.  
  
Chloe tugs at the sleeve of Clark's shirt and starts to turn.  
  
CHLOE  
  
Hey, I'm gonna go grab us a table.  
  
CLARK  
  
Okay.  
  
Chloe starts off towards the seating area.  
  
A jock, wearing a blue varsity jacket, eyes Chloe from across the food court as she takes a seat at one of the tables. He elbows his friend who is admiring several girls at yet another table.  
  
HUNTER  
  
Check it out, blonde, one 'o' clock.  
  
The second jock turns and gives Chloe the once over.  
  
TODD  
  
Kind of short, isn't she?  
  
HUNTER  
  
That only means she doesn't have as far to bend.  
  
TODD  
  
That's cold man. Besides, it looks like she's already got a boyfriend anyway.  
  
Todd motions toward Clark who is waiting for the food in front of Sandy's.  
  
HUNTER  
  
Which is why it's going to be so much more fun when I'm the one driving her home.  
  
Hunter starts moving towards Chloe's table.  
  
HUNTER  
  
Watch the master at work. Maybe you'll learn something.  
  
Todd scoffs as Hunter makes his move.  
  
Chloe eyes Clark from the table.  
  
CHLOE  
  
That is a nice butt.  
  
Something out of the corner of her eye catches Chloe's attention. She turns to see a guy in a blue varsity jacket eyeing her from a few feet away.  
  
HUNTER  
  
Do I know you?  
  
Chloe looks around a bit to make sure he's talking to her.  
  
CHLOE  
  
Um, I don't think so.  
  
HUNTER  
  
Oh.  
  
Hunter takes a step towards her, looking genuinely disappointed.  
  
HUNTER  
  
I'm sorry, you just reminded me of someone I.  
  
He pauses as if debating with himself whether or not to continue. Finally, he invited himself to sit down at the table, across from Chloe.  
  
HUNTER  
  
You see, it's just that there's this girl I met a few weeks ago at this party I went too. All I remember is that she was the most beautiful girl. I mean woman. I'd ever seen in my life. That's why, when I saw you from across the food court, I could have sworn you were her.  
  
CHLOE  
  
Oh really?  
  
She's clearly not buying it but lets him think she is by pretending to blush.  
  
HUNTER  
  
I've been searching all over for her. I just haven't been able to get her out of my mind, ya know? I've asked everyone from the party and no one knows who she was.  
  
Over at Sandy's, Clark collects his food and the change. The food in one hand, Clark carefully counts the change in his other hand as he turns and heads for the seating area of the food court.  
  
After a few steps, Clark looks up and gives the seating area the once over, searching for Chloe. Surprised to find another guy sitting at the table with her, he quickens his approach.  
  
Back at the table, Hunter continues to try and woo Chloe.  
  
HUNTER  
  
You're sure you weren't at that party? I just can't believe how much the two of you look alike.  
  
Chloe smiles and diverts her eyes in a desperate search for Clark. Seeing him approaching, she silently tries to get his attention, widening her eyes as if to say, "Help!" Careful not to let Hunter notice, she looks back at him.  
  
Clark gets the message perfectly and looks down into his hand with all the change in it. Quickly, he moves the hand into the pocket and drops all the change inside except for a single quarter. Balancing the quarter on the tips of his middle finger and thumb, Clark aims the quarter at the back legs of Hunter's chair.  
  
With a short flick of his finger, Clark sends the quarter towards Hunter's chair like a bullet out of a pistol. It instantaneously tears through each of the legs, sending the unsuspecting jock tumbling backwards.  
  
CLARK  
  
Hey, are you all right?  
  
Chloe stands up out of her chair as Clark places the food down on the table. With a firm hand, Clark aggressively picks Hunter up off the ground under the pretense of helping him to his feet.  
  
Todd, Hunter's friend, laughs at him from across the court.  
  
Embarrassed, Hunter looks up at Clark with apologetic eyes.  
  
HUNTER  
  
::embarrassed:: Yeah, yeah I'm fine.  
  
Clark stares at Hunter, right in the eyes.  
  
CLARK  
  
You know, they really need to replace some of these chairs. If they're not careful, one of these days, someone could go to sit down and get really hurt.  
  
Hunter swallows, the message having clearly gotten through.  
  
HUNTER  
  
Yeah, you're right.  
  
CHLOE  
  
You're sure you're okay?  
  
Hunter nods as he starts backing away.  
  
HUNTER  
  
Oh, I. I'm fine. I'm okay. Anyway, I'm sorry I bothered you. See you around some time. maybe.  
  
Clark shoots Hunter a stern glance behind Chloe's back.  
  
HUNTER  
  
. or not.  
  
Hunter makes a hasty retreat.  
  
Clark takes his seat, eyeing Hunter carefully. Chloe sits as well, immediately grabbing for the food.  
  
CHLOE  
  
::under breath:: Idiot.  
  
CLARK  
  
You know that guy?  
  
CHLOE  
  
Never seen him before in my life.  
  
CLARK  
  
Then what was he doing over here?  
  
Chloe rolls her eyes and gives Clark an angry look.  
  
CHLOE  
  
I don't know, Clark. I guess he just found me attractive. Maybe you should go beat some sense into him.  
  
CLARK  
  
I was actually thinking more about beating something 'out' of him.  
  
Chloe hesitates and smiles.  
  
CHLOE  
  
Clark Kent, do I detect a hint of jealousy?  
  
Clark diverts his eyes.  
  
CLARK  
  
That depends.  
  
CHLOE  
  
On what?  
  
Clark looks across the table, into her eyes.  
  
CLARK  
  
On whether or not he has something I want.  
  
Chloe swallows hard, her entire body tensing in the chair.  
  
CHLOE  
  
I guess that depends on what you want.  
  
Slowly, Clark reaches his hand across the table. Staring at it all the way, Chloe does her best not to tremble as he wraps his hand around hers.  
  
EXT. THE TALON - AFTERNOON  
  
Clark, Chloe riding shotgun, pulls his his truck up and parks it across the street from the Talon. Simultaneously, they turn their gazes toward the entrance, where Lana finishes sweeping up and heads inside. She doesn't appear to have noticed them pull up.  
  
CHLOE  
  
Well, I guess this is my stop.  
  
CLARK  
  
::nods:: Yup.  
  
Chloe nods too, staring at him from the very corner of her eyes. She has to struggle to keep her mind at attention so as not to bite the lower right corner of her bottom lip off.  
  
CHLOE  
  
Yeah, so, I guess I'll see you tomorrow?  
  
It was more of a statement than a question.  
  
CLARK  
  
::nods:: I'll be around.  
  
They each stare straight ahead, probably waiting for the other to say something constructive. Meanwhile, Chloe still hasn't made a move to get out.  
  
CHLOE  
  
Well, I should get going. Lana's probably waiting for me.  
  
CLARK  
  
Chloe.  
  
She turns and looks up at him.  
  
CHLOE  
  
Yes, Clark?  
  
He opens his mouth but, nothing comes out. Thinking on his feet, he regroups and tries a different approach.  
  
CLARK  
  
Did you want.  
  
Another verbal stumble.  
  
CLARK  
  
Do you think maybe.  
  
He looks down at the bags full of items from the various stores they had visited at the mall.  
  
CLARK  
  
Did you want help carrying some of this stuff in?  
  
Obviously expecting him to say something else, Chloe is caught by surprise. She seems a bit disappointed.  
  
CHLOE  
  
Um, no, I think I can manage.  
  
CLARK  
  
Oh.  
  
Still, neither of them makes any kind of move toward the door or otherwise. After a short pause, Chloe shakes her head and takes a breath.  
  
CHLOE  
  
Clark, I.  
  
Her mistake was turning to look up at him. Despite how much she wants too, she simply doesn't have the strength to stare him straight in the eye and tell him what she has longed to tell him for years now. She diverts her eyes.  
  
Clark waits.  
  
CHLOE  
  
I think I should get out.  
  
She reaches for the door handle and wraps her hand around it. Her knuckles turn white.  
  
Chloe turns the handle and slowly opens the door, catching a glimpse of her face in the side view mirror. Staring into her own eyes, Chloe sees an all too familiar image she's grown to hate. It's the same fear and longing that so often stares back at her in her own mirror at home. To her surprise, though, Clark's face shows the same pained look as he watches her from over her shoulder.  
  
Gathering up what's left of her resolve, she quickly shuts the door. She makes sure not to look directly at him this time, careful not to make the same mistake twice.  
  
CHLOE  
  
I give up. I can't take it anymore. Clark, what the hell is going on here?  
  
CLARK  
  
What do you mean?  
  
CHLOE  
  
I mean everything. because I'm gonna be honest with you, I'm going a little insane.  
  
Chloe's nervousness kicks in and she goes into complete and total overdrive, talking at warp speed.  
  
CHLOE  
  
For the longest time, we never got to spend any time alone together and then, out of the blue, you just show up on my doorstep and you want to go to the mall with me, and everyone knows how you hate the mall but, you want to go anyway, so I'm thinking something's got to be up but, then I'm not so sure because you went like totally Boo Radley on me in the car on the way there.  
  
She manages a quick breath.  
  
CHLOE  
  
So, then, I'm thinking we're just doing the friends thing and I'm okay with that because you're like my best friend and I love spending time with you but, then you go all 'Clark to the rescue' on that stupid guy in the food court and I'm thinking, 'Oh, the macho jealous boyfriend routine, my women's studies class would have a field day,' but then, I'm like, 'Wait a minute, is that how he really feels about me?'  
  
Another quick breath.  
  
CHLOE  
  
And you were so sweet when we were holding hands, and I was thinking maybe you were trying to tell me something but, you've said a total of five words to me the whole trip back, so now I'm not sure if you were trying to tell me something or not, because maybe I was just misreading the whole thing, and now I'm making a complete idiot out of myself because you don't know what I'm talking about.  
  
She puts her hand back on the door handle and starts to turn it.  
  
CHLOE  
  
And you probably think I'm psychotic, not to mention desperate, and you probably never want to talk to me again, because I'm just weirding you out, and I'm a total freak, and I should probably just get out of the damn truck before you push me out and drive away.  
  
Chloe turns in her seat, leaving her back to Clark, as she goes to get out of the truck.  
  
CLARK  
  
Chloe.  
  
She doesn't turn around to face him, merely hangs her head in shame.  
  
CHLOE  
  
Yeah?  
  
Placing a hand on each of her shoulders, he gently turns her so that she's facing him.  
  
CLARK  
  
Can I say something?  
  
CHLOE  
  
What?  
  
He lifts up one of his hands, brushing some stray strands of golden hair from her face, back over her ear. Tilting his head to one side, he slowly leans in and presses his lips against hers.  
  
Her eyes closed, Chloe softly enjoys the intoxication of a dream fulfilled. Tiny goosebumps run up the back of her neck and a faint whimper escapes from the depths of her heart.  
  
Breaking the kiss, Clark smiles at her.  
  
CLARK  
  
Feel better?  
  
She pretends to think about it for a second.  
  
CHLOE  
  
A little.  
  
CLARK  
  
Chloe, I've been thinking, if you're free tomorrow night.  
  
She quickly interrupts.  
  
CHLOE  
  
I'm free.  
  
CLARK  
  
::smiles:: Maybe you wanna go out? For some dinner?  
  
She's practically vibrating in her seat from the excitement.  
  
CHLOE  
  
I'd love too. Did you have a place in mind?  
  
Clark thinks for a moment.  
  
CLARK  
  
How about I surprise you?  
  
CHLOE  
  
::smiles:: Okay. Do I get any hints? A girl's got to know what to wear.  
  
CLARK  
  
Pete made me rent a suit for the talent show on Saturday. What do you say we take it for dry run?  
  
CHLOE  
  
Clark Kent in a suit? Don't I feel special.  
  
CLARK  
  
You are.  
  
Chloe blushes and gathers up her bags in a quick attempt to retreat from the truck before her luck runs out. She steps out of the truck and closes the door behind her, looking in at him from the other side of the open window.  
  
CLARK  
  
I'll pick you up at six.  
  
Giddy as a little schoolgirl, Chloe's expression strains against the smile that threatens to envelop her entire face.  
  
CHLOE  
  
I'll be ready.  
  
Clark smiles and drives off.  
  
Practically shaking with excitement, carrying several large shopping bags, Chloe watches him drive off. Suddenly, though, she freezes.  
  
CHLOE  
  
A suit? Oh, no. I have nothing to wear! I have to go to the mall.  
  
INT. LEX'S MANSION - LEX'S OFFICE  
  
Three metallic globes sit in a triangular formation, their carefully shined exteriors reflecting the fading light that seeps in from through the window behind Lex's desk. Each globe has its own pattern, with one made to resemble the Sun, another, the Earth, and the Moon. They sit silently in an opened case, their forms gently cradled by a maroon felt interior. Next to the case sits a book, open face down, with the words "I, Don Quixote" etched into the cover.  
  
Lex leans back in his desk chair, a drink in one hand and a cell phone in the other.  
  
LEX  
  
Yes, Doctor.  
  
Lex listens to the other end.  
  
LEX  
  
There's nothing to be sorry about. I understand perfectly, and I'm more than happy to make the necessary arrangements. Of course, I will have to insist that you not discuss your work with her under any circumstances.  
  
Another pause as Lex listens to the other end.  
  
LEX  
  
It's my pleasure. I look forward to meeting you, Doctor Fries.  
  
Lex folds the cell phone together and stands just as his office door opens. Noah steps inside the office.  
  
LEX  
  
Noah, just the man I wanted to see.  
  
Lex walks over to Noah.  
  
LEX  
  
There's been a slight change of plan. Doctor Fries' wife will be joining him when he arrives tomorrow morning. I need you to make the appropriate changes to their accommodations.  
  
NOAH  
  
Of course, sir. Clark Kent is here to see you. I have him waiting in the lobby.  
  
LEX  
  
Why in the lobby?  
  
NOAH  
  
I thought it proper to check with you first, before admitting any visitors.  
  
Lex shakes his head and smiles as he makes his way to the office door.  
  
LEX  
  
Clark Kent isn't a 'visitor'. He's a friend.  
  
Lex leans his head out the door and calls down the hall.  
  
LEX  
  
Clark, come on in. I'm in the office.  
  
Lex walks back toward his desk, patting Noah on the shoulder as he walks by.  
  
LEX  
  
Clark Kent is welcome any time, Noah. Next time, just let him in.  
  
Noah bows his head obligingly and heads for the door.  
  
NOAH  
  
As you wish, Mr. Luthor.  
  
Clark enters the office just as Noah leaves. Confused, he shoots Lex a strange glance.  
  
CLARK  
  
What's with that guy?  
  
Lex laughs as he organizes some things on his desk. He bookmarks the book, interestingly enough with what appears to be two tickets to "Man of La Mancha."  
  
LEX  
  
That's Noah, my new assistant. He's a little uptight but, you get used to him.  
  
CLARK  
  
A little?  
  
Lex grabs the Earth and Moon out of their case and sits down at his desk.  
  
LEX  
  
What can I do for you, Clark?  
  
CLARK  
  
Well, actually.  
  
Clark hesitates and walks over to the desk, taking a seat opposite Lex.  
  
CLARK  
  
I need some advice.  
  
LEX  
  
::smiles:: Well, then, you've come to the right place. If there's one thing a Luthor likes more than making money, it's giving other people their opinion.  
  
Slowly, Lex begins rotating the globes in his hand, careful not to let them touch each other as he does. Distracted, Clark calls attention to them.  
  
CLARK  
  
What are those?  
  
Lex admires the globes in his hand.  
  
LEX  
  
Chinese therapy balls. The key is to keep them from touching each other as you rotate them in your hand. It uses every muscle in the hand in the process.  
  
CLARK  
  
Therapy balls?  
  
LEX  
  
::nods:: They actually work pretty well. There's something about having the entire world in the palm of my hand. I find it soothing. Now, what was it you wanted my advice on?  
  
CLARK  
  
I have a date tomorrow and I want to take her someplace special.  
  
LEX  
  
I see. I take it the lovely Lana Lang finally succumbed to the renowned Clark Kent charm?  
  
CLARK  
  
Actually, it's not with Lana.  
  
Lex pauses a second and thinks, holding the globes still.  
  
LEX  
  
Sullivan?  
  
Clark nods. Lex goes back to rotating the globes in his hand.  
  
LEX  
  
Well, that's a bit of a switch. Can I assume, since the date is still on, she didn't spontaneously combust when you asked her?  
  
CLARK  
  
Lex, I'm being serious.  
  
LEX  
  
So am I. From what I've heard, the intrepid reporter's been the puppy dog at your shoe for a while now.  
  
CLARK  
  
It's our first date and I want to take her someplace nice and.  
  
LEX  
  
. and you're thinking the local 'McGreasy's', with their 'Belly Bib Special', isn't really going cut it?  
  
CLARK  
  
Smallville doesn't exactly offer a whole lot of options.  
  
LEX  
  
Well, I've heard good things about 'Roberto's' over on Elm Street. I suppose that could. pass as culture.  
  
CLARK  
  
::shakes head:: She's not allowed to go there.  
  
LEX  
  
Not allowed?  
  
CLARK  
  
She did an article about them for the school paper a while back. Suffice it to say it wasn't exactly complimentary.  
  
LEX  
  
You know, I have a book that would be perfect for her. It's called, "How to Win Friends and Influence People". I'm actually thinking of handing it out to all my employees. Maybe I'll have an extra copy sent over to her father's house.  
  
CLARK  
  
Any useful suggestions?  
  
Lex thinks for a moment, then smiles to himself.  
  
LEX  
  
Have you considered 'Night Time'?  
  
CLARK  
  
'Night Time'? Last time I checked, that's in Metropolis.  
  
LEX  
  
I'm aware of that. I'm also aware of the fact that its menu is internationally accepted as one of the finest offered cuisines this side of the Atlantic.  
  
CLARK  
  
Yeah, well, it might as well be on the other side. It's like six hours away.  
  
LEX  
  
Not by helicopter.  
  
Clark hesitates, both surprised and tempted by the offer.  
  
CLARK  
  
::shakes head:: No, I wouldn't ask you to do that.  
  
LEX  
  
Clark, what's the point of having rich friends if you can't use their stuff and spend their money.  
  
CLARK  
  
I'm not here to mooch off you, Lex.  
  
LEX  
  
You wouldn't be. I'm going too.  
  
CLARK  
  
You're what?  
  
LEX  
  
Why do you think I offered? It's Helen's birthday tomorrow. She's been begging me to take her to see "Man of La Mancha". It's playing at the Metropolis Theatre House. One of her old high school friends is playing one of the lead roles. Naturally, I keep making up excuses why I can't go, last minute business meetings and such.  
  
Lex picks up the book and removes the tickets to show Clark.  
  
LEX  
  
I've been reading up; not bad. I figured, first, I'll take her to 'Night Time' for a nice, quiet, dinner. Afterwards, a surprise trip to the nine- thirty showing.  
  
CLARK  
  
Why would you want us tagging along?  
  
LEX  
  
I don't, which is why we'd be taking separate helicopters and sitting on opposite sides of the restaurant but, I figure it'd make a nice story to tell your parents to convince them to let you go.  
  
CLARK  
  
I'm not going to lie to my parents, Lex.  
  
LEX  
  
You wouldn't be lying, just omitting out a few parts.  
  
Clark seems uneasy.  
  
LEX  
  
Listen, you pick her up around five forty-five and you head over to the mansion. You're at your table by seven-thirty and out by nine. You head to the airport, catch a helicopter back to Smallville, while Helen and I make our way over to the theatre. You're back in Smallville by ten forty-five and home and tucked away in bed by eleven thirty.  
  
CLARK  
  
It is her favorite restaurant. Ever since Bruce Wayne took her.  
  
Clark hesitates, seemingly giving the offer real consideration. After a few moments, though, he shakes it off.  
  
CLARK  
  
No. No, I can't.  
  
LEX  
  
Look, Clark, if you're comfortable with letting this relationship fall into the hackneyed vortex that is teenage dating then, by all means, enjoy your stale popcorn at the local Cineplex, and a slice of lukewarm pizza afterwards. That's your prerogative.  
  
Lex grips the globes in his hand and leans across the desk, catching Clark's attention.  
  
LEX  
  
But if you want to impress this girl, and I mean really knock her socks off, you take my advice. Shock and awe was invented by Lex Luthor.  
  
Lex leans back in his chair, a proud smile on his face.  
  
LEX  
  
. And look at me. I'm in my mid-twenties and bald. and I'm getting married for the second time. Not bad, if I do say so myself.  
  
Clark laughs, buying himself time enough to contemplate the offer.  
  
EXT. SMALLVILLE MEDICAL CENTER - LATE AFTERNOON  
  
Jagged shadows reach out from the walls of the medical center as the sun slowly makes its descent towards the horizon.  
  
INT. SMALLVILLE MEDICAL CENTER - HALLWAY  
  
The door opens to room 212 and out steps an elderly woman, probably in her late seventies, carrying a large flowered bag. She seems happy enough, smiling politely to Doctor Helen Bryce who exits the room behind her.  
  
HELEN BRYCE  
  
Now, remember, Mrs. Banter, take one in the morning and one in the evening, preferably after breakfast and dinner. With your history of indigestion, it's a good idea to have a full stomach before taking them. They should start taking affect after the first couple of doses so, if you're still having headaches by the beginning of next week, I want you to call me. We may have to up your dosage.  
  
MRS. BANTER  
  
Thank you, Doctor. I will.  
  
The elderly woman nods and begins hobbling her way down the hall. Helen shakes her head and rolls her eyes before turning down towards the opposite way.  
  
A nurse sits behind the check-in desk of the medical center, carefully plugging away at her keyboard. Smiling, she spots Helen on her way up to the desk.  
  
NURSE WENDY  
  
So. how's Mrs. Banter feeling today?  
  
HELEN BRYCE  
  
::sighs:: The same way she was feeling yesterday, and the day before, and the day before that. perfectly fine.  
  
NURSE WENDY  
  
::laughs:: What'd she steal this time?  
  
HELEN BRYCE  
  
A bottle of tongue depressors and two boxes of cue-tips.  
  
Helen tosses Mrs. Banter's file on the desk.  
  
HELEN BRYCE  
  
I swear, I don't know what to do with that woman. I never know whether she's really in pair or if she's just back to rob us blind.  
  
NURSE WENDY  
  
Did you give her something for the pain?  
  
Helen waves her hand in the air.  
  
HELEN BRYCE  
  
Oh, when she wasn't looking, I ripped the label off a bottle of Advil and told her it was a prescription.  
  
Nurse Wendy laughs.  
  
HELEN BRYCE  
  
Money bet, she'll still be back tomorrow.  
  
NURSE WENDY  
  
Lucky you.  
  
Helen picks up a second file from the desk and starts reading it and making notes with her pen.  
  
HELEN BRYCE  
  
::shakes head:: No, lucky Dr. Simpson. I get tomorrow off.  
  
NURSE WENDY  
  
Oh, really? Special occasion?  
  
HELEN BRYCE  
  
My birthday.  
  
NURSE WENDY  
  
Oh, Happy Birthday. What are you, twenty-two now?  
  
HELEN BRYCE  
  
Bless you.  
  
They share a stifled giggle.  
  
NURSE WENDY  
  
So, big plans?  
  
HELEN BRYCE  
  
Lex is taking me into the city to see "Man of La Mancha" at the Metropolis Theatre House.  
  
NURSE WENDY  
  
I heard that was excellent.  
  
HELEN BRYCE  
  
An old friend of mine from high school, Regina Hammond, landed the role of Aldonza and I've been dying to go. I've been on Lex's case for weeks now but, he keeps making up all these lame excuses why he can't go; a last minute business meeting, an emergency at the plant, or some other stupid thing. He's been doing it on purpose just so he could surprise me on my birthday.  
  
Helen motions towards the phone.  
  
HELEN BRYCE  
  
Oh, that reminds me, it 'is' supposed to be a surprise so, if he calls, be sure not to say anything.  
  
Nurse Wendy raises two fingers in the air and shakes them back and forth.  
  
NURSE WENDY  
  
Pixie's promise.  
  
Helen looks slightly confused, something that Nurse Wendy finds quite amusing.  
  
NURSE WENDY  
  
Something my daughters picked up at school.  
  
Helen smiles and goes back to reading from the file in her hands.  
  
HELEN BRYCE  
  
So, let's see, who do I get to kill next? Mr. Hortin in room two-ten...  
  
She cringes.  
  
HELEN BRYCE  
  
Oh, no, is that the guy whose mother still comes into the room with him for all his physicals?  
  
NURSE WENDY  
  
::shakes head:: No, that's Mr. Horner.  
  
HELEN BRYCE  
  
Then, which one's Mr. Hortin?  
  
NURSE WENDY  
  
Mr. Hortin's the one who keeps losing all the fingers.  
  
HELEN BRYCE  
  
::rolls eyes:: Wonderful.  
  
Helen turns back down the hall.  
  
NURSE WENDY  
  
Have fun.  
  
HELEN BRYCE  
  
Always.  
  
Before she has a chance to get too far down the hall, Dr. Bryce's attention is torn back towards the entrance to the medical center where several trucks skid to a screeching halt outside. Men and women immediately begin pouring out of the vehicles, many of them bloodied and covered in mud.  
  
Helen shoots a glance toward Wendy behind the desk.  
  
HELEN BRYCE  
  
I need a full emergency team up here, stat!  
  
Wendy immediately gets to work behind the desk.  
  
NURSE WENDY  
  
Yes, Doctor.  
  
Helen races through the automatic doors and is immediately swarmed. One of the more hysterical men grabs at her jacket as one of the drivers helps the man from the back of his truck.  
  
VICTIM I  
  
My leg! My leg! I can't move my leg!  
  
Helen quickly tries sifting through the injured, searching for the more critical wounds amongst a sea of filth and blood. One of the drivers grabs her by the arm and begins shouting at her.  
  
DRIVER I  
  
He stopped breathing! You have to do something! You have to help him!  
  
HELEN BRYCE  
  
Who? Where is he?  
  
Frantic and close to incoherent, the driver continues to shout at her, the same thing over and over again.  
  
DRIVER I  
  
You have to do something! You have to help him!  
  
Helen tries to pull away from the frenzied driver but, he only tightens his grip.  
  
HELEN BRYCE  
  
Sir, you have to let go of me! Please, you're hurting me!  
  
DRIVER I  
  
You have to do something! Why aren't you helping these people?!  
  
She continues to struggle but, he just won't let go.  
  
HELEN BRYCE  
  
Let go of me!  
  
A fist flies, landing square on the driver's chin. As he falls backwards, the man's eyes roll back in his head.  
  
JONATHAN KENT  
  
Dr. Bryce!  
  
Jonathan quickly steps in front of Helen, looking only slightly less panicked than the previous man who stood there. His entire face is caked with mud except for a smear of sweat and blood across his eyes where he probably tried wiping the mud from his face with his blood soaked hands.  
  
HELEN BRYCE  
  
Mr. Kent, what happened?  
  
Several nurses begin pouring out of the medical center as more and more injured people arrive.  
  
JONATHAN KENT  
  
A plane crashed down in the field behind the church!  
  
HELEN BRYCE  
  
Oh my god.  
  
JONATHAN KENT  
  
More injured on the way! We have to get these people inside!  
  
Helen and Jonathan quickly rush to help the victims.  
  
EXT. KENT FARM - NIGHT  
  
An ignorant grin lines Clark's face as he steps out of his truck and heads for the house. He practically flies up to the porch, leaping all the steps in a single bound. As he opens the door, though, something catches his attention. A large metal basin, filled with water, sits at the far end of the deck. Curious, Clark walks over to investigate.  
  
The same shirt Jonathan was wearing earlier, at the hospital, floats near the surface. Clark actually laughs as he pulls a piece of it up out of the water.  
  
CLARK  
  
Fell in the mud again.  
  
Clark drops the shirt back into the water and prepares to head back inside, rubbing his wet hand on his own shirt to dry it. To his utter surprise, however, the imprint of his hand makes a thick streak of red across his shirt. Lifting up his hand, Clark is horrified to find several red droplets streaking down the lines in his palm, each one mapping out another tiny river of blood.  
  
CLARK  
  
Dad!  
  
Clark's eyes widen as he quickly runs inside.  
  
INT. KENT HOUSE - KITCHEN  
  
The kitchen is dimly lit. Only the light over the dining table provides any illumination to speak of.  
  
Clark quickly searches the kitchen for anything pointing to his father's fate, good or bad.  
  
CLARK  
  
Dad?! Dad?!  
  
Finding the kitchen empty, he races for the next room.  
  
INT. KENT HOUSE - LIVING ROOM  
  
Martha looks up from the couch, looking toward the doorway as a rolling thunder approaches from the kitchen. She quickly gets to her feet, meeting Clark as he runs into the living room.  
  
CLARK  
  
Mom! Where's Dad?  
  
Martha Kent appears solemn and mournful. She speaks softly.  
  
MARTHA  
  
Clark.  
  
Frantic, he doesn't even wait for an answer.  
  
CLARK  
  
I saw the shirt outside. It was covered in blood. What happened? Is he all right?  
  
MARTHA  
  
It's okay, Clark. He's all right. He's just upstairs, in bed.  
  
CLARK  
  
What happened?  
  
Martha pauses, confused by the question.  
  
MARTHA  
  
You mean, you haven't heard?  
  
CLARK  
  
Heard what?  
  
Martha's dead pan gaze is near haunting. She's clearly been emotionally drained by the day's events.  
  
MARTHA  
  
There was an accident out in the field behind the church.  
  
Clark's eyes widen.  
  
CLARK  
  
What kind of an accident?  
  
MARTHA  
  
A plane. it crashed.  
  
CLARK  
  
What?!  
  
MARTHA  
  
It was a small plane, only two passengers but, everyone was outside working on setting up the tents for this weekend. They were trying to make an emergency landing when they crashed through one of the tents just as we were setting it up.  
  
CLARK  
  
Is everyone all right?  
  
A brief hesitation on the part of Ma Kent is all the answer Clark needs.  
  
She shakes her head and speaks even more softly than before.  
  
MARTHA  
  
No, Clark. Everyone isn't all right.  
  
Without naming names, Martha hugs her son.  
  
Clark's gaze moves to the stairs.  
  
INT. KENT HOUSE - JONATHAN AND MARTHA'S BEDROOM  
  
Already a few inches ajar, the door to Jonathan and Martha's bedroom creaks open just from Clark's gentle knock. All the lights in the room are out except for a small lamp on a night table on the far side of the bed. The bed itself is fairly small for one meant for two people. Despite the vacancy, the sheets and comforter have been jostled, the rumblings of a restless man.  
  
CLARK  
  
Dad?  
  
Jonathan Kent sits silent in a rocking chair next to the bed. He wears only an old pair of worn out shorts, as if a shirt and socks were simply too much to think about. His eyes stare blankly ahead.  
  
CLARK  
  
Mom told me what happened.  
  
Jonathan looks up, and even manages to turn up the sides of his mouth into a half hearted smile. At the very least, it seems to comfort Clark a bit.  
  
JONATHAN  
  
Hi, Clark.  
  
Clark takes a step into the room and makes his way toward the bed. Uneasy, he sits at the foot, near Jonathan.  
  
CLARK  
  
I'm sorry, Dad. I should've been there.  
  
JONATHAN  
  
We were just so far from the lot. We couldn't carry him that far.  
  
Clark cringes, the obvious guilt ridden thought, "I could have," runs through his mind.  
  
JONATHAN  
  
We drove out onto the field, loaded him up into the back of the truck. we figured everything would be okay.  
  
Martha stands back at the doorway, silently observing from the hall.  
  
JONATHAN  
  
I kept hitting the gas but, the tires. they just kept spinning. It took six of us to get it out. All the while, he kept screaming.  
  
Jonathan takes a deep breath, letting the air fill his lungs. He sighs and let's the air escape through a small crease in his lips.  
  
JONATHAN  
  
By the time we made it to the Medical Center, the screaming stopped.  
  
The three Kents remain silent for a time, each one of them with the same blank stare as a million different thoughts about the same thing run through their collective minds.  
  
Jonathan looks up at Clark.  
  
JONATHAN  
  
You remember old Swanny, Clark?  
  
CLARK  
  
::nods:: Yeah. Pete and I used to ride by Swanson's Bakery all the time after school. Mr. Swanson used to give us free breadsticks.  
  
JONATHAN  
  
Dick Swanson was a good man.  
  
Clark nods in silent agreement.  
  
JONATHAN  
  
He was a good man.  
  
CLARK  
  
I'm sorry, Dad.  
  
JONATHAN  
  
::shakes head:: It's not your fault, son. It's no one's fault.  
  
Still feeling guilty, Clark nods and makes his way toward the door. Taking one last look back at his father, he leaves the room.  
  
MARTHA  
  
Jonathan, try to go to bed. I'll stay up.  
  
JONATHAN  
  
I can't sleep.  
  
Martha nods and recedes back into the hall.  
  
INT. KENT HOUSE - KITCHEN  
  
Martha comes down the stairs and into the kitchen, finding Clark sitting at the head of the kitchen table. He sits at the table silently staring down at the table, a solemn expression etched across his face. A cordless phone sits on the table in front of him.  
  
Switching from loving wife to loving mother, Martha moves over to the table and sits down next to her son. She waits for him to say something.  
  
CLARK  
  
He was going to ask me to go this morning, wasn't he? He was going to ask me to help out setting up at the church.  
  
Martha takes a breath, hoping by the time she's ready to exhale the right thing to say will have made its way to her lips. Clark never gives her the chance. He already knows the answer anyway.  
  
CLARK  
  
I overheard you talking last night. He wanted me to go.  
  
MARTHA  
  
Your father and I have always hoped that, at some point, you'd begin to show more interest in the church. It's such an important part of both our lives. We want to be able to share it with our son.  
  
Clark nods.  
  
CLARK  
  
I got up early this morning. so I could head over to Pete's house before Dad woke up. before he'd have the chance to ask me.  
  
Martha says nothing.  
  
CLARK  
  
I knew I couldn't say no if he'd asked. I made sure he never got the chance.  
  
Clark stares at his hands on the table, flattening them out and separating his fingers.  
  
CLARK  
  
He wouldn't have been too heavy for me.  
  
Clark shakes his head and scoffs.  
  
CLARK  
  
Heck, you could have put him in the truck and I still could've carried him over to the medical center without even breaking a sweat.  
  
He looks at Martha.  
  
CLARK  
  
Mom, do you think I. Do you think I could've saved him? Had I been there?  
  
MARTHA  
  
I don't know. but, you can't blame yourself.  
  
CLARK  
  
Why not?  
  
A challenging reply. He blames himself for not being there.  
  
MARTHA  
  
Because you can't be everywhere all the time, Clark.  
  
CLARK  
  
I should've been there.  
  
MARTHA  
  
It's your Spring vacation, you should've been out with your friends. Clark, I know you feel like you have this responsibility to the rest of the world because you can do all these amazing things but, you also have a responsibility to yourself. You have a right to be happy. You have a right to live your life and not feel guilty ever time something happens that 'maybe' you could have prevented.  
  
CLARK  
  
Yeah, well, I'm not feeling very happy with myself right now.  
  
Clark reaches for the phone on the table.  
  
MARTHA  
  
Who are you calling?  
  
He hits the 'Talk' button and prepares to dial.  
  
CLARK  
  
I need to call Chloe. We have a date tomorrow night but, after what happened. I don't much feel like going out right now. I'm gonna call and cancel.  
  
Martha lays her hand over the phone, preventing Clark from being able to dial.  
  
MARTHA  
  
Why? So you can stay home and feel sorry for yourself? You don't have to punish yourself like you committed some sort of crime.  
  
She leans in, forcing him to look her in the eye.  
  
MARTHA  
  
Clark, go out with Chloe tomorrow night. Have a good time.  
  
He goes to object but, she'll hear none of it.  
  
MARTHA  
  
Please, Clark, let one good thing come out of today.  
  
He considers his mother's words, then, hands her the phone.  
  
INT. SMALLVILLE MEDICAL CENTER - DR. BRYCE'S OFFICE  
  
A thin brim rises up over the clamp on the end of a clipboard, revealing tired eyes beneath. Sheriff Adams sits opposite Dr. Bryce, who herself appears utterly exhausted, a heavily cluttered desk between them.  
  
The sheriff finishes her scribbling and looks up from the clipboard.  
  
SHERIFF ADAMS  
  
My superiors at the state office are going to want more.  
  
HELEN BRYCE  
  
I'm sorry but, I didn't get much chance to examine the passengers. By the time they got to me, they were passed the point where I could help them. If you check back with the coroner's office in the morning, the autopsy results should be in by then.  
  
The sheriff nods, begrudgingly, and turns to read from her clipboard.  
  
SHERIFF ADAMS  
  
Well, then, let's just run back over this one more time to ensure we're all on the same page. I've got five dead, including the two passengers, another in intensive care, and twelve more with varying degrees of injury, everything from severe lacerations and broken bones to third degree burns.  
  
Helen speaks softly.  
  
HELEN BRYCE  
  
That sounds about right.  
  
SHERIFF ADAMS  
  
And how are we feeling about Mr. Franklin's chances?  
  
HELEN BRYCE  
  
We'll know for sure by morning but, I'd say he should be fine.  
  
SHERIFF ADAMS  
  
All righty then.  
  
Sheriff Adams nods and removes her hat, rubbing her forehead with the back of her sleeve. The hair under the hat is completely flat, molded to the shape of her head by the sweat.  
  
SHERIFF ADAMS  
  
Well, this has been the day from hell.  
  
Helen rolls her eyes at the world's greatest understatement.  
  
SHERIFF ADAMS  
  
I do want to thank you, Doctor. I've heard more than a few fine praises by family members of the victims roaming the halls tonight. Albeit not under the best of circumstances, I'd say you're just about the most popular person in all of Smallville right now.  
  
HELEN BRYCE  
  
With all respect, Sheriff, I'd be a much happier person if none of these people ever had to learn my name.  
  
SHERIFF ADAMS  
  
Wouldn't we all, Doctor?  
  
The sheriff replaces her hat and stands, turning for the door.  
  
SHERIFF ADAMS  
  
Wouldn't we all?  
  
Sheriff Adams tips her cap to Helen and exits the office, inadvertently leaving the office door a crack open.  
  
Helen rotates in her chair, leaning the back of her head against the headrest of the chair. The entire left side of her office is basically a large window. The blinds are drawn but, open, leaving her with a clear view of one of the hospital's waiting areas where a woman and three little children sit crying in each other's arms. Is this the family left behind by one of the five she couldn't save? Helen closes her eyes at the sight.  
  
A knock at the office door.  
  
Lex Luthor takes a few steps inside the office and stops. He sees the pain on Helen's face but keeps his distance.  
  
LEX  
  
Helen.  
  
She opens her eyes and turns in her chair, looking up at him. All at once, tears begin to well up in her eyes, as if his presence has given her permission to let go, to release the pain that the human being behind the professional feels when surrounded by so much suffering.  
  
Helen stands up out of the chair and walks over to him, allowing herself to cry into his chest as he wraps his arms around her.  
  
LEX  
  
Shh. it's okay. It's okay.  
  
HELEN BRYCE  
  
Take me home, please. Just take me home.  
  
Lex nods, removing the coat from around his shoulders and placing over hers. Pulling a handkerchief out from one of the pockets, he wipes some of the tears from her cheek. His arm wrapped around her, Lex escorts Helen from the office, turning out the light and shutting the door behind them.  
  
EXT. CHLOE'S HOUSE - DAY  
  
Outside the Sullivan household, night turns to morning, then, morning to day as a new sun is born in the sky.  
  
The front door opens and out steps Chloe, nearly tripping over one of three newspapers sitting on the porch. Quickly, she picks them up, one by one, and starts heaving them into the house. She stops, though, as she gets to the third one, reading the banner headline on the front page through the clear plastic bag wrapped around it.  
  
"Five Dead in Mysterious Crash," reads the headline.  
  
Chloe shakes her head in silent mourning for the dead before hurling the last paper inside and closing the front door. Searching through her purse for her keys, she nonchalantly moves down the porch steps and heads for her car.  
  
LANA  
  
Chloe!  
  
Chloe turns and looks back to the front door, confused when she finds no one there.  
  
LANA  
  
Up here.  
  
Chloe shifts her gaze upward to Lana's bedroom window where she sees only Lana's upper half protruding from the inside.  
  
LANA  
  
Are you headed to the mall by any chance?  
  
Chloe, appearing slightly confused, tries to avoid the question.  
  
CHLOE  
  
What makes you think that?  
  
LANA  
  
::giggles:: You're wearing your dragonfly purse.  
  
Chloe looks down at her purse. Sure enough, there's a small dragonfly embroidered into the side. She curses at herself, silently.  
  
LANA  
  
It's the smallest one you own, nice and light, so it's easier to carry more shopping bags.  
  
CHLOE  
  
::under breath:: Oh, I gotta get new stuff.  
  
LANA  
  
Anyway, you mind if I come with you? I need to pick up a few things.  
  
Chloe's eyes widen slightly, not enough for Lana to notice from such a distance.  
  
CHLOE  
  
Oh. I wasn't planning on being there very long. I just forgot a couple of things yesterday. Really, I'm just going to be in and out.  
  
LANA  
  
Oh, that's okay. I know exactly what I'm getting. I won't hold you up, I promise.  
  
CHLOE  
  
Well, if you know what you want, I could always pick it up for you.  
  
Lana turns away from the window.  
  
CHLOE  
  
. There's no reason you need to. come all that way. Well, that's just great.  
  
INT. CHLOE'S HOUSE - LANA'S ROOM  
  
Lana finishes pulling down her tank top and turns toward her closet. Swinging the door open, she quickly searches through a proverbial sea of footwear for something to wear on her feet. Meanwhile, prominently displayed on the back of the door is the red sequined dress.  
  
Finally coming to a decision, Lana slips into a pair of sandals. Taking a brief second to admire the dress, she smiles, closes the closet door, and heads out of the room.  
  
EXT. CHLOE'S HOUSE - DAY  
  
Chloe rests her head against the back of the seat as she sits, rather impatiently, in her car waiting for Lana to emerge from the house. She quickly crafts a bogus smile to greet the cheery brunette as Lana skips down the walk toward the car.  
  
LANA  
  
Thank you so much, Chloe. I really didn't want to have to drive all the way to the mall by myself.  
  
Chloe nods and starts up the car as Lana gets in and fastens her safety belt.  
  
LANA  
  
This is going to be so much fun, just the two of us, just us girls.  
  
CHLOE  
  
Sure will be.  
  
Chloe takes a breath as she starts the car and drives away.  
  
EXT. KENT FARM - DAY  
  
Clark lets out a long groan as he digs into a particularly foul clump of hay and rakes it to the side. True to his words, there's absolutely nothing romantic about mucking out stalls. Whether a chore that needed to be done or a self-inflicted punishment, the future superhero takes to the menial task with lethargic enthusiasm, not even bothering to utilize his super speed.  
  
Clark pushes the waste and hay to the outside of the pen and turns a quick corner, narrowly avoiding walking right into the elongated face of a curious onlooker.  
  
CLARK  
  
Whoa! Checking up on my work? Making sure I do a good job?  
  
Lana's horse shakes its head and groans at him gruffly.  
  
CLARK  
  
Oh really? Well, I'm not finished yet.  
  
Clark reaches up and gives the horse a gentle scratch.  
  
CLARK  
  
Don't worry, by the time I'm done you'll have the finest pen in all of Kansas. Besides, I wouldn't want your mother to come over and yell at me now would I?  
  
LANA'S HORSE  
  
Damn straight.  
  
Clark takes a step back, startled by the reply.  
  
CLARK  
  
What did you say?  
  
LANA'S HORSE  
  
What's the matter super boy, you deaf? This place is a mess. If I throw a shoe, it's gonna be on your head!  
  
It takes a second but, eventually he figures it out. Poor Clark shakes his head and shrugs.  
  
CLARK  
  
I hate you.  
  
Laughing and quite proud of himself, Pete steps out from around the horse.  
  
PETE  
  
You're just so easy. I mean, no one else would fall for that.  
  
CLARK  
  
You know, you really shouldn't make fun of a guy with a pitchfork in his hand.  
  
PETE  
  
Yeah, well, you also shouldn't make fun of a guy who can see through walls, shoot fire from his eyes, and pick up small buildings but, hey, that never stopped me before, right? So, what's going on?  
  
CLARK  
  
You're lookin' at it.  
  
PETE  
  
Well, can't you kick it into super-drive? I got something I want to show you.  
  
CLARK  
  
I don't really feel like it, Pete.  
  
PETE  
  
What do you mean? You don't even know what it is yet.  
  
Clark looks up from mucking.  
  
CLARK  
  
Didn't you hear what happened? A plane crashed behind the church yesterday. People died, Pete, people we know.  
  
Distressed, Clark diverts his attention back to mucking.  
  
CLARK  
  
My parents were there.  
  
Pete nods solemnly.  
  
PETE  
  
Yeah, man, I know. I heard about old man Swanny. That's kind of why I'm here.  
  
Clark pauses and looks up.  
  
PETE  
  
Come on. I gotta show you something.  
  
Clark considers the proposal.  
  
INT. PETE'S HOUSE - GARAGE  
  
The garage is completely dark except for a few rays of sunshine sneaking through four small windows three quarters up the garage door. That changes soon enough, however, as the door begin to slowly rise, flooding the garage with sunlight.  
  
Two figures stand outside the garage, waiting for the door to fully open.  
  
EXT. PETE'S HOUSE - DAY  
  
Clark and Pete stand outside the garage as the door slowly rises. Pete smiles wide as he awaits Clark's reaction to what's on the other side.  
  
PETE  
  
I found them in my uncle's basement when we were staying with him after the fire. I was gonna tell you but, they were in pretty bad shape. I wanted to clean them up first.  
  
Clark's eyes widen as the door opens to reveal two old bikes, one blue and the other red. They each lean to one side, propped up by the kick stand, and appear to be in pretty good shape considering their age. Clearly, though, Pete's done considerable work to get them back to looking as good as the do.  
  
CLARK  
  
My old bike!  
  
Clark immediately steps inside the garage, heading straight for the blue bike.  
  
CLARK  
  
I can't believe it. I don't even remember the last time I saw this thing.  
  
PETE  
  
They were in our old shed. Mom said, after we stopped riding them, she gave them to Uncle Carl my cousins could use them.  
  
CLARK  
  
Mine too?  
  
PETE  
  
::laughs:: She said she called your mom to ask if it was okay. Apparently, it was Mrs. Kent's idea not to tell us she was giving them away.  
  
Clark looks hurt but, one look back at his bike brings the smile back to his face.  
  
CLARK  
  
Pete, man, you did a great job. It looks brand new.  
  
PETE  
  
It? What you talking about 'it'? She has a name.  
  
Clark freezes, thinking quickly. Pete shakes his head in disgust.  
  
PETE  
  
Don't you dare tell me you forgot.  
  
Clark takes a few more seconds before it finally comes to him. He smiles and points to his bike.  
  
CLARK  
  
Kristy.  
  
He points to Pete's bike.  
  
CLARK  
  
. and Tyra.  
  
PETE  
  
Aw. Hell. Yeah.  
  
They laugh like the couple of idiots they are.  
  
PETE  
  
New tires, new brakes, new shocks, even.  
  
Pete admires the black leather seat of his bike, running his hand over it.  
  
PETE  
  
. new comfort forming seat cushions. Let me tell ya, these mamasitas are primed and ready to roll.  
  
CLARK  
  
This is so cool.  
  
Pete throws his leg over the seat and grabs hold of the handles. Smiling, he kicks the kickstand back and looks over at Clark.  
  
PETE  
  
You know what else is cool?  
  
Clark looks up and their eyes meet. A silent challenge is made between friends.  
  
Pete jumps up on the bike and his feet hit the petals. He darts off out of the garage and down the driveway as Clark hops on his bike and struggles to catch up.  
  
EXT. BIKE PATHS - DAY  
  
Pete maintains a healthy lead on Clark, making sharp turns around trees and branches that have overgrown a well beaten path in the woods. They each appear like little kids again, the wind in their face bringing back the all too familiar feeling of reckless abandonment as they stress the very limits of what the cheap metal frames of their bikes can handle.  
  
Racing over rocks and small hills, Pete takes a look over his shoulder to see Clark falling far behind. Feeling rather pleased with himself, he turns back ahead just in time to see a large dirt mound ahead of him directly in his path.  
  
PETE  
  
Oh, I don't remember that being there!  
  
Pete lets out a yell as he suddenly becomes airborne. To his utter amazement, though, he lands the jump perfectly and manages to keep upright. Unfortunately, the "comfort forming" seat cushions don't seem to have done quite the job he would have hoped. He grits his teeth in pain.  
  
PETE  
  
Crap, that hurt.  
  
He sucks it up and keeps biking.  
  
Behind Pete, Clark approaches the jump, choosing that exact moment to give himself a little advantage. A quick burst super speed later and Clark launches himself in the air, traveling a good thirty feet in the air before finally coming back down practically on top of Pete.  
  
Clark smiles at Pete as he passes him on his bike.  
  
CLARK  
  
Too slow!  
  
PETE  
  
Cheater!  
  
Clark laughs as he races onward.  
  
EXT. HANAWAY LAKE - DAY  
  
Clark races out of the woods and slams on the brakes, quickly dismounting from the bike. He immediately races toward a lopsided tree that has been uprooted and leans over a small lake hidden in the woods. Pete, not far behind him, dismounts from his bike without even bothering to slow down, also racing toward the tree. The two friends race up the side of the tree and down the long trunk before leaping wildly into the air, fully clothed, and into the water below.  
  
They each laugh hysterically as they rise back up to the surface.  
  
CLARK  
  
::laughing:: Oh my gosh. We haven't done that in five years.  
  
PETE  
  
::laughing:: I know.  
  
They have to force themselves to stop laughing to catch their breath as they tread water.  
  
PETE  
  
Why haven't we?  
  
CLARK  
  
I guess. we outgrew it.  
  
PETE  
  
Yeah, that's it. I'm sure it had nothing to do with the fact that we kept running out of clothes every week.  
  
CLARK  
  
And the looks on our mothers' faces when we used to come home all wet and covered in mud.  
  
They share another laugh but, after several more seconds of simply treading water, they turn to each other, the smiles having disappeared from their faces.  
  
CLARK  
  
Hey, Pete?  
  
PETE  
  
Yeah?  
  
CLARK  
  
I'm all wet.  
  
PETE  
  
Yeah, me too.  
  
CLARK  
  
Maybe we should get out.  
  
PETE  
  
::nods:: Good call.  
  
They start swimming to the nearest bank.  
  
EXT. BIKE PATHS - DAY  
  
Clark and Pete slowly walk back down the path they came from, choosing to walk their bikes back rather than ride them. Neither friend says anything for a long while. They just. walk.  
  
Finally, Clark breaks the silence.  
  
CLARK  
  
Your family goes to church, right Pete?  
  
PETE  
  
::nods:: Every Sunday.  
  
CLARK  
  
Yeah, my parents do too. They don't force me to go, though. They want me too but. they say because of where I'm from and all.  
  
PETE  
  
My parents don't force me to go. I go because I want too.  
  
CLARK  
  
You do?  
  
PETE  
  
Yeah, sure. I like it.  
  
CLARK  
  
Well, what do you like about it?  
  
PETE  
  
Lots of things, I guess. I like the music. I like the people.  
  
CLARK  
  
Do you believe in God?  
  
Pete seems caught off guard, pausing a second before answering.  
  
PETE  
  
Yeah, yeah I guess I do. Where's this all coming from, man?  
  
CLARK  
  
I don't know. I guess yesterday just got me thinking about some things.  
  
Clark kicks at the ground as he thinks.  
  
CLARK  
  
You know my Dad was with Mr. Swanson. He said, when they got to them, they couldn't get him across the field.  
  
PETE  
  
Old Man Swanny was a big man.  
  
CLARK  
  
When they brought the truck out into the field, it got stuck in the mud cause of the storm the day before. They couldn't get it out.  
  
Clark takes a deep breath as Pete listens on intently.  
  
CLARK  
  
I just keep thinking, maybe had I been there.  
  
PETE  
  
Yeah, and maybe had you been on one of the planes that hit the World Trade Center. Clark, man, you can't think that way.  
  
Clark shakes his head.  
  
CLARK  
  
It's not that. I know I can't be everywhere all the time. It's just.  
  
Pete waits a while through the pause.  
  
PETE  
  
What?  
  
CLARK  
  
My father wanted me to go with him to help out yesterday. That's why I was over so early. I didn't want to give him the chance to ask me. but, it's not like I didn't want to go because I didn't want to spend time with my Dad. I didn't want to go. because I didn't want to go to the church.  
  
Pete continues to listen, seemingly beginning to catch on.  
  
CLARK  
  
Then, I get home and I realize, had I been there. I've never really given it much thought, you know? Now, I don't know what to think.  
  
PETE  
  
Clark, you think Mr. Swanson died because God was mad at you?  
  
Pete doesn't need Clark to answer. He can see it in his friend's face.  
  
PETE  
  
Clark, man, that is not how the big guy works.  
  
CLARK  
  
I did everything I could to get out of having to go to the church and then, all of sudden, a plane just drops out of the sky and lands in the one field out of, like, a billion in Smallville where they happened to be working? That doesn't strike you as a bit strange?  
  
PETE  
  
Clark, God isn't going to just start zapping planes out of the sky every time you decide to ditch.  
  
CLARK  
  
But how do you know?  
  
PETE  
  
I don't know. but, I have faith. That's not what he's about.  
  
CLARK  
  
Well, what about people who don't have faith? You wouldn't happen to know any Bible verses about extra terrestrials would you?  
  
PETE  
  
Yeah, I do.  
  
Clark looks over at his friend, confused.  
  
CLARK  
  
You do?  
  
PETE  
  
::nods:: Yeah, they're in a book in the New Testament called "Star Wars". verses one through six.  
  
Clark thinks for a moment, wondering whether to be angry at Pete for making light of the situation or laughing out loud. One look at his friend's smiling face convinces him to choose the latter.  
  
Clark laughs and gives Pete a quick shot to the arm.  
  
CLARK  
  
You're an idiot.  
  
PETE  
  
No, I'm a sidekick.  
  
The two friends share a laugh as they walk their bikes home.  
  
INT. SMALLVILLE MEDICAL CENTER - CORONER  
  
Sheriff Adams, along with a deputy, makes her way down the stairs, to the basement of the medical center, and to the coroner's office. She seems quite tired, probably working on a couple hours sleep at the most.  
  
SHERIFF ADAMS  
  
Aw, Lord, why do these things always got to be in the damn basement?  
  
CORONER  
  
. because the living don't like the smell.  
  
Once at the bottom of the stairs, Sheriff Adams is greeted by a young Asian woman, obviously the coroner, and two freshly autopsied bodies, a man and a woman, laid out across two metal tables. The deputy cringes at the sight of the bodies which are both badly disfigured.  
  
SHERIFF ADAMS  
  
That includes me, young lady, so let's make this quick. I'd like to know exactly what was so important that "I just had to come down here and see for myself" with my own two little eyes. You see, there's this fancy little device that's recently been introduced to modern society. It's called the telephone.  
  
Sheriff Adams looks over to one corner of the room where there stands a rather plain looking desk with a few papers, a computer, and a telephone sitting on top.  
  
SHERIFF ADAMS  
  
I see there's one sitting over there on your desk, as a matter of fact, and if your report is that these two individu'ls died from the impact of the crash, a bit of information that could have easily been relayed through such a device, well, I'm afraid I'm gonna have to be hitting you with that one.  
  
CORONER  
  
Well, at least they won't have to drag the body too far.  
  
Sheriff Adams doesn't seem to find the coroner's joke particularly funny. Although, judging by the younger woman's demeanor, it's entirely possible it may not have been a joke at all.  
  
SHERIFF ADAMS  
  
What do you have, dear?  
  
The coroner walks around the two bodies and grabs a folder she had previously left laying atop one of their legs. She opens it up.  
  
CORONER  
  
For the most part, pretty standard stuff. Each victim got pretty thrown around by the crash; broken bones, ruptured internal organs, the works. They weren't fastened in, whoever they are.  
  
Sheriff Adams waves her hand in a circle to try and help speed things along.  
  
SHERIFF ADAMS  
  
::impatient:: And.  
  
CORONER  
  
. And, considering the extent of the injuries, I was getting ready to just chock it all up to one hell of a ride and call it a day. You know, a guy gets simultaneously shot ten times in the head, which bullet killed him?  
  
The coroner shrugs and walks over to a set of lab tables on the far side of the room, motioning for the sheriff to come over with her.  
  
CORONER  
  
But, just for the hell of it, I decided to do my job. so, I decided I'd see if I could figure out just which came first.  
  
DEPUTY  
  
. the chicken or the egg?  
  
The deputy laughs at his joke, something the sheriff makes quite clear she doesn't appreciate.  
  
CORONER  
  
. the skull fracture or the ruptured heart. That's when I found this.  
  
The young coroner points to the microscope, motioning for Sheriff Adams to take a look. Removing her hat, the sheriff obliges. After only a few seconds of examining some sort of pinkish blob, the sheriff looks up.  
  
The deputy leans in to look through the microscope as Sheriff Adams confronts the coroner.  
  
SHERIFF ADAMS  
  
Look, I'm gonna be perfectly honest with you. I'm a cop, through and through. The extent of my medical knowledge can be written on a small piece of paper and slipped inside a fortune cookie. As far as I know, George Clooney's the greatest medical doctor the world's ever known. So, you want to do me a favor and tell me what it was I was just looking at.  
  
DEPUTY  
  
Brain tissue.  
  
Surprised, the sheriff turns around to look at her deputy. Standing up from the microscope, he looks at her, sheepishly.  
  
DEPUTY  
  
My high school biology teacher was twenty-two years old. It was my best class.  
  
SHERIFF ADAMS  
  
What high school d'you go to?  
  
The coroner appears impressed, even taking a second to look the deputy over real quick, as if just noticing his outwardly handsome appearance.  
  
CORONER  
  
Actually, he's right.  
  
Sheriff Adams turns back to face the coroner.  
  
CORONER  
  
It is brain tissue, courtesy of a gaping hole in the skull of your Jane Doe over there. The strange part about it is that it's basically been turned to smush.  
  
SHERIFF ADAMS  
  
Smush? That a technical term, Doctor?  
  
CORONER  
  
Not quite but, it's an accurate one. All the neurons have been completely overloaded, every single one. It's as if they all just simultaneously exploded.  
  
SHERIFF ADAMS  
  
And what exactly does that mean to me?  
  
CORONER  
  
Not a whole heck of a lot, until you combine it with the evidence of laryngeal asphyxia and ventricular fibrillation I found in your John Doe. That kind of damage isn't consistent with something you might find in victims of a plane crash. In fact, as far as I know, there's really only one kind of trauma that would cause something like this.  
  
For drama's sake, the young coroner extends the pause before revealing her conclusion, something else Sheriff Adams doesn't seem to appreciate much at all.  
  
CORONER  
  
. Electrocution.  
  
SHERIFF ADAMS  
  
What are you saying, Doctor?  
  
CORONER  
  
I'm saying, these people didn't die in the crash. They were already dead.  
  
The creases in Sheriff Adams' forehead tighten madly as she looks back at the mysterious Jane and John Doe.  
  
INT. LEXCORP HELICOPTER I  
  
A metallic briefcase sits on the floor between two sets of legs, a pair each belonging to a man and woman respectively. A conspicuously familiar name is engraved into the side of the briefcase in large, bold, letters: "FRIES".  
  
NORA FRIES  
  
I just want you to be careful, Victor.  
  
VICTOR FRIES  
  
Do not worry, my dearest. There is nothing to fear.  
  
They hold each other's hands as the helicopter descends from the sky.  
  
EXT. LEXCORP PLANT - DAY  
  
A LexCorp helicopter touches down on the landing pad of the plant, Lex Luthor calmly observing nearby, his hands in his suit pockets. Noah, his assistant, runs passed him, quickly opening the door for the two passengers inside. Victor exits first, carrying the briefcase, then Nora, who holds the end of a long blonde pony tail in her hand to keep her hair from being blown about by the whirlwind created by the helicopter's spinning propeller.  
  
Noah escorts Mr. and Mrs. Fries across the pad, to Lex, as the helicopter lifts off. Lex extends his hand to greet them, politely smiling as they approach.  
  
LEX  
  
Dr. Fries, Lex Luthor. I want to thank you for coming on such short notice.  
  
Victor shakes Lex's hand.  
  
VICTOR FRIES  
  
It is a pleasure meeting you, Mr. Luthor. May I introduce my wife, Nora.  
  
Lex and Nora exchange smiles and shake hands.  
  
LEX  
  
A pleasure...  
  
NORA  
  
::nods:: Mr. Luthor.  
  
VICTOR FRIES  
  
If I may, Mr. Luthor, I'd like to thank you again for providing me this unique opportunity. I cannot begin to tell you what your very generous contributions will mean to furthering my research.  
  
LEX  
  
With any luck, Doctor, I hope that our partnership will be a mutually beneficial one.  
  
VICTOR FRIES  
  
Indeed. That is my wish as well.  
  
Lex turns and motions them toward a stairwell off to the side of the helipad.  
  
LEX  
  
If you'll follow me, I'll show you to our facilities.  
  
Lex escorts Dr. Fries and Mrs. Fries to the stairwell, Noah following closely behind.  
  
INT. LEXCORP PLANT - LABORATORY  
  
The Lexcorp lab is impressively expansive, with several large, and undoubtedly expensive, pieces of equipment spread out almost like a large assembly line, various scientists working at each station.  
  
At one of the stations, Dr. Webster Crawford carefully observes a small mouse as it blissfully makes its way through a complex plastic maze. Looking up from his clipboard, Crawford looks towards the top of a large metal stairwell where two elevator doors open up overlooking the facility. Lex Luthor and Noah step through the doors and escort Dr. and Mrs. Fries down the stairwell.  
  
Doctor Crawford places his clipboard down on the table and walks over to the bottom of the staircase.  
  
LEX  
  
This will be your work area. Our facilities here at LexCorp are the best money can buy thanks, large in part, to Dr. Crawford, our team leader. He supervises the acquisition of all our equipment. If, however, you require something not currently at our disposal, all you have to do is ask. I'm sure it can be obtained for you.  
  
VICTOR FRIES  
  
Thank you, Mr. Luthor, but from what I have seen here, I believe your facilities should be more than adequate and are certainly far superior to that which was afforded me by my "esteemed" colleagues at Gotham General.  
  
The sarcasm in his voice regarding his 'esteemed colleagues' is clear.  
  
CRAWFORD  
  
Dr. Fries.  
  
Crawford meets the four of them at the bottom of the staircase and immediately extends his hand to Dr. Fries. He appears rather in awe of the man.  
  
CRAWFORD  
  
Doctor Fries, I'm Doctor Webster Crawford. It's a privilege to finally meet you in person, sir.  
  
Fries smiles and shakes Crawford's hand.  
  
VICTOR FRIES  
  
I thank you for inviting me, Doctor Crawford. And may I now say what a relief it is to be standing here with men of such vision, men who are not so blinded by convention that they are neither able nor willing to accept the medical revolution that awaits us.  
  
Noah fidgets in place.  
  
NOAH  
  
Medical revolution? Doctor, you are clear why it was we brought you here, are you not?  
  
VICTOR FRIES  
  
I am quite clear, indeed. The elimination of sickness from human kind.  
  
Noah appears uneasy, Lex intrigued. Victor simply laughs as he reads the expression off Noah's face.  
  
VICTOR FRIES  
  
Ah, now that is an expression I have come to know very well over the past few months. I'll bet I've heard said every thought and every doubt racing through your mind. That is why I brought this.  
  
Fries lifts up the briefcase and shows it to Lex before setting it down on the nearby table. He carefully begins thumbing over the locking combinations. Nora stands at his side.  
  
VICTOR FRIES  
  
A great man once compared time to the tiny speckles of sand in an hourglass, Mr. Luthor. It does not matter which particle falls first, or which comes last, only that there is a beginning and an end. Tell me, gentlemen, are you familiar with the theory of absolute zero?  
  
LEX  
  
It's been a while since I've taken collegiate science but, I believe it refers to a temperature of zero Kelvin; the complete absence of heat.  
  
VICTOR FRIES  
  
::smiles:: Many people believe that the concept of temperature is a measure of how hot or how cold something is. In fact, there is no such thing as 'hot' or 'cold'. There is only energy.  
  
Fries finishes with the locking combinations but, doesn't open the briefcase. Instead, he turns around to face Lex as he talks.  
  
VICTOR FRIES  
  
When ice is placed in a glass of water, after a certain amount of time, it will melt. This is because all things desire to be in a state of equilibrium. There is more energy in the water than in the ice. As result, the ice absorbs the energy from the water, making the water cold and the ice melt. Therefore, absolute zero is not so literally the absence of heat but, the absence of energy.  
  
Victor Fries turns around again and, this time, opens the briefcase. Inside, embedded within a cushioned interior, is a long cylinder approximately eighteen inches long and five inches in diameter. The cylinder is capped on either end by two metal disks and contains what appears to be a translucent liquid with an only slightly bluish tint to give it color.  
  
Smiling proudly, Victor lifts the cylinder out of the briefcase, holding it by the two metal ends. He turns back around and shows it to the group.  
  
VICTOR FRIES  
  
Behold, my friends, mankind's hourglass.  
  
NOAH  
  
What is it?  
  
VICTOR FRIES  
  
I call it 'Static Life'.  
  
LEX  
  
What does it do?  
  
VICTOR FRIES  
  
Ah. I will show you.  
  
Fries sets the cylinder down on the table, on one of its metal ends, and steps over to the maze where Dr. Crawford was previously seen observing the lab mouse. Carefully, he reaches in and grabs the mouse by the tail, lifting it up and out of the maze. He walks back over to the cylinder.  
  
VICTOR FRIES  
  
Hold this for me please, Doctor.  
  
Fries hands the mouse to a reluctant Dr. Crawford and begins unscrewing the metal disk from top of the cylinder. Once unscrewed, he places the metal disk on the table and takes the mouse back from Dr. Crawford.  
  
VICTOR FRIES (to the mouse)  
  
Don't worry, my little friend. You won't feel a thing.  
  
Slowly, Fries positions the squirming mouse over the opened end of the cylinder. With Lex, Noah, Nora, and Dr. Crawford eyeing the mouse intently, Victor carefully lowers the small, twitching, creature into the open end of the cylinder.  
  
Oddly, as the mouse is lowered in, the height of the liquid doesn't rise. In fact, the height of the liquid actually lowers slightly. Even more remarkably, though, the submerged end of the mouse has gone completely still, as if instantaneously frozen in place.  
  
Horrified, Crawford looks up at Fries.  
  
CRAWFORD  
  
You killed the mouse?  
  
VICTOR FRIES  
  
::smiles:: Did I?  
  
Slowly, Fries raises the mouse up out of the liquid by its tail. Miraculously, much to everyone's amazement, it continues with its twitching as if nothing happened.  
  
Lex stands up straight and folds his arms across his chest.  
  
LEX  
  
Doctor Fries, you have my attention.  
  
EXT. SAND HILL MALL - DAY  
  
The large parking lot surrounding the Sand Hill Mall remains a bustling hub of activity. Eager shoppers from around Smallville and surrounding neighborhoods file into the mall for an afternoon of spending.  
  
INT. SAND HILL MALL - OLD NAVY  
  
Chloe stands outside the Old Navy dressing room, anxiously biting at her inner lip. She seems impatient, checking her watch at regular five second intervals, sighing heavily.  
  
After a short while, Lana steps out of the dressing room wearing a ridiculously tight red top and jean short bottoms, "short" being the operative word. Turning to Chloe, Lana looks down at her shirt and does a few quick poses, a slightly concerned look on her face.  
  
LANA  
  
Can you see my bra through this shirt?  
  
CHLOE  
  
I can see what you ate for breakfast through that shirt.  
  
LANA  
  
You think it'll shrink?  
  
CHLOE  
  
I'm not sure. You'd better get two. That way, if it does shrink, you have a great pair of socks.  
  
She was clearly being sarcastic but, for some reason, Lana doesn't appear to catch on.  
  
LANA  
  
That's a great idea! Now, about these shorts.  
  
Lana turns and gives another quick pose, showing off the shorts for Chloe.  
  
LANA  
  
What do you think? You think they make my butt look big?  
  
CHLOE  
  
::rolls eyes:: Yeah. if you stuck two Christmas hams in the back pockets.  
  
LANA  
  
I'm just not sure.  
  
Lana shakes her head then waves her hand over at two other girls, probably high school students as well, browsing through some of the nearby racks.  
  
LANA  
  
Hey, girls.  
  
They each look up at Lana.  
  
GIRL I  
  
Yeah?  
  
LANA  
  
Do these shorts make my butt look big?  
  
As if her query was fairly commonplace, the girls oblige Lana by watching her as she poses for them a bit.  
  
GIRL I  
  
::shakes head:: No, they look pretty good.  
  
GIRL II  
  
You can go shorter, though.  
  
Lana thinks to herself for a moment.  
  
LANA  
  
I 'could' go shorter. Hmm.  
  
The two girls go back to shopping.  
  
CHLOE  
  
You know those girls?  
  
LANA  
  
::shakes head:: No.  
  
Chloe takes a few seconds to get over her confusion, as Lana sifts through a few more racks of clothes. Chloe again looks at her watch.  
  
CHLOE  
  
You know, Lana, I don't mean to be rude but, we really should start thinking about getting back.  
  
LANA  
  
Getting back? But you haven't even gotten your dress yet.  
  
Chloe freezes.  
  
CHLOE  
  
My... dress?  
  
LANA  
  
For your date with Clark. Isn't that why you were going to the mall in the first place?  
  
Chloe's eyes widen, the young blonde completely taken by surprise. Several barely comprehensible stumbles of the tongue later, she manages to spit out.  
  
CHLOE  
  
How did you.?  
  
LANA  
  
Oh come on, Chloe, you should know by now that you can't keep secrets in Smallville. It's impossible.  
  
CHLOE  
  
Well, I. We weren't. I mean. We weren't trying to.  
  
LANA  
  
::smiles:: Relax, I'm happy for you.  
  
Chloe's brain takes several seconds to comprehend that statement.  
  
CHLOE  
  
You are?  
  
LANA  
  
Are you kidding? Of course I am! You've had a crush on Clark for, oh, forever. This has got to be, like, your dream come true. I'm so happy for you!  
  
Chloe's look of utter shock only intensifies as Lana wraps her arms around her and gives Chloe a big, cheery, bear hug.  
  
CHLOE  
  
I. I don't know what to say.  
  
LANA  
  
What's there to say?  
  
CHLOE  
  
Well, Lana, I mean. I know how you feel about Clark.  
  
LANA  
  
Hey, we both like him but, we can't both have him. Why should we both be miserable? Besides, you're the one he cares about. I know that had he chosen me that you'd be just as happy for me.  
  
Chloe hesitates.  
  
CHLOE  
  
Well, yeah.  
  
Chloe forces herself to repeat it, probably more trying to convince herself than Lana.  
  
CHLOE  
  
Of course I would.  
  
LANA  
  
Well, great. Now.  
  
Lana looks down at what she has on, realizing she's still wearing store clothes.  
  
LANA  
  
Let me just get out of these and we'll go find you a dress that'll knock that farmboy right out of his boots.  
  
Lana smiles and cheerily steps back into the dressing room, leaving a shell- shocked Chloe behind.  
  
INT. SMALLVILLE MEDICAL CENTER - HALLWAY  
  
Jonathan and Martha Kent stand outside one of the hospital rooms. Inside, an older man clings to life with the aid of several life support machines. A nurse monitors his condition.  
  
HELEN BRYCE  
  
He's going to make it.  
  
Jonathan and Martha turn to see Dr. Bryce, in street clothes, standing behind them. She isn't wearing any makeup and her hair is plainly brushed back into a loose pony tail.  
  
MARTHA  
  
Helen.  
  
HELEN BRYCE  
  
I spoke with Dr. Hanson. They'll be taking him off life support soon. He'll be able to breathe on his own.  
  
MARTHA  
  
We know. We spoke with the front desk. They told us you weren't going to be in today.  
  
HELEN BRYCE  
  
Technically, I'm not. It's my day off. but, I wanted to be here. I wanted to see how everyone was doing after last night. It was the least I could do.  
  
MARTHA  
  
That's nice of you, Helen.  
  
HELEN BRYCE  
  
How are you two holding up?  
  
Martha looks up at Jonathan, who opts to remain silent.  
  
MARTHA  
  
We'll be fine. We lost a good friend. It'll take some time.  
  
HELEN BRYCE  
  
I'm sorry.  
  
Helen steps up to the window to look in on the patient. She seems to want to say something but, has to force herself to say it.  
  
HELEN BRYCE  
  
You know, there's something I've been meaning to ask you.  
  
MARTHA  
  
Yes?  
  
HELEN BRYCE  
  
When the trucks came in yesterday, we were all taken by surprise. Why didn't anyone phone ahead, call us to let us know you were on the way?  
  
SHERIFF ADAMS  
  
That's a little one I've been thinking about myself.  
  
Sheriff Adams, with her deputy, steps up from behind the Kents as the crowd outside the room continues to grow.  
  
JONATHAN  
  
Some of us tried too. but, the plane took out the telephone lines around the church when it crashed. The church lines were dead and no one with a cell phone could get a clear signal for whatever reason.  
  
DEPUTY  
  
::confused:: Could the crash have been causing some kind of interference?  
  
SHERIFF ADAMS  
  
I don't see how. Then again, I don't know much about them doo'hickies anyway. The damn things never work when you really need 'em. Only one I ever had 's sittin' at the bottom of Crier Pond along with my daddy's fishin' boat.  
  
JONATHAN  
  
Is there any news on what might have caused the crash, Sheriff?  
  
SHERIFF ADAMS  
  
Not at the moment, I'm afraid, Mr. Kent. They're still trying to piece the thing together. Unfortunately, they tell me it might be a couple days 'till we know for sure.  
  
MARTHA  
  
Do we at least have any idea whose plane it was?  
  
SHERIFF ADAMS  
  
Not yet. It was a private plane but, they all still have to register with Metropolis International. I'm still waiting for a call back from them. Though, I would like to ask you a question if I could.  
  
MARTHA  
  
About the crash?  
  
SHERIFF ADAMS  
  
Yes, I know you two were there when it happened. I was wonderin' if you folks recall having seen any lightning in the skies around yesterday, about the time of the crash.  
  
JONATHAN  
  
Lightning?  
  
MARTHA  
  
::shakes head:: It was beautiful out yesterday. There wasn't a cloud in the sky.  
  
Sheriff Adams almost seems disappointed by Martha's response.  
  
SHERIFF ADAMS  
  
Yeah, that's what they told me down at the news station. I was afraid of that.  
  
HELEN BRYCE  
  
Why?  
  
SHERIFF ADAMS  
  
We are investigating all possibilities, at this time.  
  
Sheriff Adams avoids the question expertly.  
  
SHERIFF ADAMS  
  
We just wanted to be sure. Well, good day folks. I assume I'll be seein' you all at the services on Monday?  
  
MARTHA  
  
We'll be there.  
  
HELEN BRYCE  
  
So will Lex and I.  
  
SHERIFF ADAMS  
  
Well, good day, then.  
  
The sheriff tips her hat, as does her deputy, and the two walk off down the hall.  
  
INT. SAND HILL MALL - D'ANA S'ANA'S  
  
This time, it's Lana's turn to be kept waiting while Chloe changes inside the dressing room of a rather elegant clothing store, certainly quite a bit more upscale than an Old Navy. Everything from ravishingly ornate ballroom gowns to sensible skirt and blouse combos are modeled by several eerily realistic mannequins about the store. Lana sits across from the dressing room, carefully filing her nails, virtually oblivious to the rather disdainful looks she's getting for doing so by two store salesmen.  
  
After a short while, the more flamboyant of the two salesmen walks over to Lana and bends down to grab her attention.  
  
SALESMAN I  
  
Excuse me.  
  
Lana looks up at him.  
  
SALESMAN I  
  
::snotty:: Would you mind not doing that in here?  
  
LANA  
  
You know, I've dropped close to two thousand dollars in this store over the past two years.  
  
Lana puts the nail filer away in her purse.  
  
LANA  
  
. You'd think you guys would have bought a vacuum cleaner by now. I mean, I know you know how to use one. It's just like a lawn mower.  
  
The salesman pretends not to be offended as he grinds his teeth.  
  
Lana smiles as she notices Chloe step out from the dressing room from over the salesman's shoulder. She stands up.  
  
LANA  
  
Look, why don't you go tippy toe your way back over to your boyfriend over there and, I'll let you know if we need you?  
  
Trying to maintain his composure, and not lose the sale, the salesman forces himself to smile and moves out of Lana's way. He mumbles some rather harsh curses at her under his breath, though.  
  
Chloe peers at herself through the mirror, quite pleased with her selection, and rightfully so. She wears a purple dress that stops just short of the knee and accentuates her more womanly features quite generously. The dress is reasonably form fitting, with spaghetti straps covered by a small, open, long sleeve black jacket that comes down just above her butt.  
  
Lana comes up behind Chloe and the two of them size up the look through the mirror. Lana doesn't seem nearly as enthusiastic about the outfit as Chloe.  
  
CHLOE  
  
I love it.  
  
LANA  
  
I hate it.  
  
CHLOE  
  
::disappointed:: You do? Why?  
  
LANA  
  
It's just so dark. You're gonna roast in that thing.  
  
CHLOE  
  
It's not that hot. I'm comfortable.  
  
LANA  
  
We live in Kansas. It gets hot here. If you ever want to be able to wear this again, you're going to have to wait until the middle of winter.  
  
CHLOE  
  
I hadn't thought about that.  
  
Lana peaks down at the price tag and cringes.  
  
LANA  
  
And you're definitely going to want to get more than one night out of it at that price.  
  
CHLOE  
  
Yeah, I know. I just want everything to be perfect, though. Price is no object.  
  
LANA  
  
Well, then, we need to go with something different, something a little more daring.  
  
CHLOE  
  
Did you have something in mind?  
  
Lana smiles devilishly.  
  
LANA  
  
I might.  
  
Lana quickly turns and walks over to an adjacent rack. Doing a brief search of the rack, she pulls out a hanger with a, strikingly familiar, red sequined dress.  
  
CHLOE  
  
::smiles:: Whoa.  
  
LANA  
  
It's Clark's favorite color.  
  
Chloe walks over to Lana and feels the material.  
  
CHLOE  
  
It's sequins. lots and lots of sequins.  
  
LANA  
  
T, A, and lots of shiny objects. Now, that's the way to a man's heart.  
  
Chloe examines the dress carefully as she tries to decide.  
  
CHLOE  
  
Don't you have something similar to this in your closet?  
  
Lana pretends to examine the dress for similarities.  
  
LANA  
  
Um. similar but, they're two very different dresses. The one I have at home is old and kind of frumpy.  
  
A blatant lie. It's the exact same dress.  
  
Chloe takes a peak at the price tag.  
  
CHLOE  
  
Eesh. That's twice as much as what I have on.  
  
LANA  
  
Hey, you want everything to be perfect, right? Trust me. When he shows up tonight and sees you wearing this, you guys might not even make it to the restaurant. Besides, you'll get a lot more out of it, if you know what I mean.  
  
Chloe thinks it over a bit. She takes the dress from Lana.  
  
CHLOE  
  
Let me go try it on.  
  
LANA  
  
Okay.  
  
Lana takes a deep breath as she watches Chloe re-enter the dressing room. Calmly, she removes the nail file from her purse and continues filing her nails right where she's standing, much to the chagrin of the store salesmen.  
  
EXT. KENT FARM - LATE AFTERNOON  
  
Pete Ross pulls up outside the barn, music blaring. Turning the car off, he gets out and heads inside the barn.  
  
INT. KENT FARM - CLARK'S LOFT  
  
Clark, donning a suit, fiddles with his tie in front of the mirror trying, but failing, to get it just right. Pete walks up the steps behind him.  
  
PETE  
  
And the number four batter, Clark Kent, steps up to the plate. He's currently hitless for the game, with two strikeouts and a walk. He's hoping for a little base knock here to finally put this game in the books here in extra innings. I think I speak for everyone out there when I say, "hit the damn ball already, you stupid alien".  
  
Clark ignores Pete and frustratingly fidgets with his tie.  
  
CLARK  
  
Why can I never get this thing right? I can shoot flames out of my eyes but, this I can't do.  
  
Pete walks up to Clark, grabs the tie, and starts tying it for his friend.  
  
PETE  
  
Relax, it's not nearly as embarrassing as not being able to whistle.  
  
Clark shoots him a dirty look.  
  
CLARK  
  
That's not funny.  
  
PETE  
  
::smiling:: Wait, wait, wait. Here we go. Ready? I'm Popeye the Sailor Man.  
  
Pete motions to Clark, waiting for him to sound off with the obligatory "Toot Toot" whistle blow. Clark gives him another dirty look.  
  
PETE  
  
::smiles:: Come on, man, that's your cue.  
  
CLARK  
  
Just finish the tie.  
  
Pete laughs to himself.  
  
PETE  
  
Okay, okay.  
  
Pete turns his attention to the tie. After a short second, though, Pete starts whistling the entire "Popeye the Sailor Man" theme.  
  
CLARK  
  
I hate you so much.  
  
PETE  
  
::laughs:: So, did you decide where you're going to take her yet?  
  
Pete finishes with the tie, allowing Clark to inspect himself in front of the mirror again.  
  
CLARK  
  
::nods:: Yeah, I did.  
  
Pete waits.  
  
PETE  
  
. and?  
  
CLARK  
  
::smiles:: And I'm not telling you.  
  
PETE  
  
Why not?  
  
CLARK  
  
Because it's a surprise.  
  
PETE  
  
What, you think I'd tell her?  
  
CLARK  
  
Yeah, I do.  
  
PETE  
  
Come on, man, I can keep a secret. I think I would have proven that to you by now. Besides, you're going to be over there in five minutes anyway.  
  
Clark turns and faces Pete.  
  
CLARK  
  
She sent you, didn't she?  
  
Pete considers denying it but, thinks better of it.  
  
PETE  
  
::nods:: I left her house ten minutes ago.  
  
CLARK  
  
That sounds about right.  
  
Clark goes back to looking at himself in the mirror.  
  
CLARK  
  
So, you saw her then?  
  
PETE  
  
Yeah.  
  
CLARK  
  
She looks good?  
  
PETE  
  
Oooo, si si, senor. Muy bueno. Muy, muy, caliente!  
  
Clark laughs and takes a deep breath.  
  
PETE  
  
Nervous?  
  
CLARK  
  
A little. I keep waiting for something to go wrong.  
  
Pete looks up...  
  
CLARK  
  
Something else, I mean.  
  
PETE  
  
::nods:: Give it time.  
  
Clark turns and shoots Pete another dirty look.  
  
CLARK  
  
Thanks.  
  
PETE  
  
Clark, man, there's nothing to be nervous about.  
  
Clark doesn't seem to agree.  
  
PETE  
  
Look, let me give you a little piece of advice my dad gave me before I went out on my first date. Now, I was nervous. I was excited but, I was nervous. Anyway, just before we left my house, my dad took me off to the side, put his hand on my shoulder, looked me right in the eye, and do you know what he said?  
  
CLARK  
  
What?  
  
PETE  
  
He said, "Son, you need to relax. Go out and have a good time. Just don't have too good a time because your mother's a judge."  
  
CLARK  
  
That's very profound, Pete, thank you.  
  
PETE  
  
That's what I'm here for.  
  
Clark steals a quick glance at a clock on the wall. He takes a breath.  
  
CLARK  
  
Well, I should probably get going.  
  
Pete walks over to Clark and the two friends share an elaborate handshake.  
  
PETE  
  
Yo, man, make me proud. Have a good time.  
  
CLARK  
  
I'll try.  
  
PETE  
  
No! Try not! Do or do not. There is no try.  
  
Clark laughs and heads down the stairs.  
  
Pete waits a few seconds, listening for Clark's footsteps. After a while, he turns and surveys the room, searching for something.  
  
PETE  
  
All right, now, where would he hide it?  
  
From outside the barn.  
  
CLARK  
  
The letter's not up there!  
  
Pete turns and heads for the steps.  
  
PETE  
  
Ah, dammit!  
  
EXT. CHLOE'S HOUSE - LATE AFTERNOON  
  
Clark pulls up outside and puts his truck in park. He takes a moment to look at the house through the passenger side window before turning the engine off. He takes a deep breath before getting out.  
  
INT. CHLOE'S HOUSE - LANA'S ROOM  
  
Lana spies Clark exiting the truck before turning away from the window. She smiles widely.  
  
LANA  
  
He's here.  
  
CHLOE  
  
I'd better head downstairs.  
  
LANA  
  
::shakes head:: No, don't. Let him sweat a little.  
  
EXT. CHLOE'S HOUSE - LATE AFTERNOON  
  
Clark swallows the lump in his throat, then reaches out and rings the doorbell. The chimes don't even finish ringing before the door opens. Gabe Sullivan, wheelchair bound, greets Clark with a friendly smile.  
  
GABE SULLIVAN  
  
Clark, hello. Don't tell me. Vodka martini, shaken, not stirred.  
  
Clark laughs, though, not nearly as much as Gabe at his own joke.  
  
GABE SULLIVAN  
  
Come in, come in, Chloe will be down in a minute. She's just getting ready.  
  
Clark accepts Gabe's invitation and steps inside.  
  
INT. CHLOE'S HOUSE - LIVING ROOM  
  
Clark takes a nervous look around the house as Gabe happily rolls by in his wheelchair.  
  
GABE SULLIVAN  
  
Please, Clark, sit down. Make yourself comfortable. If I know my daughter, you might be here a while.  
  
CLARK  
  
Thank you, sir.  
  
Clark sits down on one of the living room couches. Gabe very deliberately maneuvers his wheelchair directly across from Clark. A short silence, extended by several polite smiles, ensues.  
  
CLARK  
  
So, Chloe tells me your rehab is going well.  
  
GABE SULLIVAN  
  
Yep, yep. A personal trainer comes to the house four days a week and helps me with exercises for my arms. If all goes well.  
  
Gabe taps the hard cast on his elevated leg.  
  
GABE SULLIVAN  
  
The Doctor's say I should be able to get this thing off in a couple of weeks and start rehabbing my leg too.  
  
CLARK  
  
That's great.  
  
GABE SULLIVAN  
  
Yeah, it'll be good to finally get this thing off. It gets pretty itched under there sometimes. Ya know, because of the sweat?  
  
CLARK  
  
Oh. yeah, I would imagine.  
  
GABE SULLIVAN  
  
Because you obviously don't get a chance to wash it very often and, especially when it's hot, it can get really gross and groggy in there. Plus, it's not like you can even stick something under the cast to get at the itch because the skin is all moist and shriveled from the sweat. And if you cut yourself, you can forget it. You can get an infection; bleeding, puss, it's all very disgusting.  
  
Clark nods, periodically stealing glances up the steps as he humors the man.  
  
GABE SULLIVAN  
  
It's been weeks since I've washed the thing. I would imagine it's really going to smell when it finally comes off.  
  
CLARK  
  
Probably.  
  
GABE SULLIVAN  
  
I just hope it doesn't come out all shriveled and atrophied like I've seen on some of those t.v. shows, you know, the ones where they show the surgeries and stuff like that. Now, that's disgusting.  
  
Another short silence ensues as the conversation is seemingly tapped dry, much to Clark's delight. Then, as calmly and friendly as anything can possibly be said.  
  
GABE SULLIVAN  
  
Have you ever broken any bones, Clark?... or ever had them broken?  
  
Clark looks up at the man, slightly frightened. Gabe very patiently waits for Clark's reply.  
  
CLARK  
  
No, sir. I haven't.  
  
GABE SULLIVAN  
  
::nods:: It hurts. a lot.  
  
Clark swallows.  
  
GABE SULLIVAN  
  
I love my daughter very much, Clark.  
  
CLARK  
  
::nods:: Yes, sir.  
  
CHLOE  
  
Clark.  
  
Clark quickly stands as both he and Gabe turn their attention to the stairwell. Chloe stands a step up from the bottom, looking simply stunning in the now all too familiar red sequined dress. Her hair is slightly darker than usual, now more of a dirty blonde, and has significant extensions reaching down just below her shoulders. The top and sides of her hair are pulled tightly up and around her ears by some invisible styling but, her bangs and the ends mostly lay where they fall. Heels, a purse, a conservative amount of makeup, and a thin necklace complete the ensemble.  
  
CHLOE  
  
I'm ready.  
  
Clark valiantly struggles to keep his jaw from falling right out of his head. His initial reaction is one of sheer awe, utterly spellbound by the sight of her.  
  
He slowly steps around the couch and walks over to her, the added height from the step and the heels bringing them to about the same level, though, he is still even slightly taller.  
  
CLARK  
  
You look.  
  
She smiles, blushingly, as he looks her over up close. This time, though, it hits him. He recognizes the dress and instantly tenses.  
  
CLARK  
  
That dress.  
  
CHLOE  
  
Do you like it?  
  
She turns a bit, modeling it for him so he can get a better look.  
  
The smile disappears from his face and a million thoughts visibly run through his head. His forehead tightens and he steals a quick glance up the stairwell behind her. At the top of the stairs, a figure shaped shadow quickly moves off just as soon as he spots it.  
  
Meanwhile, Chloe, disheartened by his reaction, seems disappointed.  
  
CHLOE  
  
You don't like it.  
  
Gabe puts his hands to the wheels of his wheelchair.  
  
Clark quickly turns his attention back to Chloe, forcing himself to put aside the thoughts racing through his mind. He concentrates his thoughts only on Chloe and his feelings for her.  
  
CLARK  
  
No, I love it. I think it's the most beautiful thing I've ever seen.  
  
Chloe blushes, utterly melting from his appraisal. Clark takes her hand as she descends the last step.  
  
Gabe eases his hands off the wheels of his wheelchair.  
  
CLARK  
  
::smiles:: Shall we?  
  
Chloe smiles like a little girl caught up in a fairy tale.  
  
CHLOE  
  
We shall.  
  
The two of them turn for the door.  
  
GABE SULLIVAN  
  
Ehem. Aren't we forgetting something?  
  
They each look over at Gabe who gently touches his index finger to his right cheek. Chloe rolls her eyes and reluctantly walks over to him.  
  
CHLOE  
  
Daddy... You are embarrassing me.  
  
GABE SULLIVAN  
  
And as your parent, that is not only my right but my obligation.  
  
Again, Gabe touches his index finger to his cheek. Rolling her eyes, Chloe bends down and gives her father a quick peck on the cheek.  
  
GABE SULLIVAN  
  
Now, remember, I want you home by 11:30.  
  
Chloe walks back over to Clark in hasty retreat.  
  
CHLOE  
  
Yes, Daddy.  
  
GABE SULLIVAN  
  
And I don't want you going to any parties where there aren't going to be any parents around.  
  
Chloe opens the front door, practically pulling Clark out the door.  
  
CHLOE  
  
Yes, Daddy.  
  
GABE SULLIVAN  
  
And if there's anything.  
  
CHLOE  
  
Yes, Daddy!  
  
Chloe quickly steps through the door, closing it behind her.  
  
EXT. CHLOE'S HOUSE - LATE AFTERNOON  
  
Clark and Chloe, arm in arm, make their way down the porch steps for Clark's truck.  
  
CLARK  
  
It's not exactly a limo but, it'll get us where we're going.  
  
Clark opens the door for Chloe and helps her inside.  
  
CHLOE  
  
And, are you finally going to tell me where we're going?  
  
CLARK  
  
::smiles:: It's a surprise.  
  
Clark shuts the door.  
  
As Clark walks around the back of the truck, Chloe quickly leans forward, checking her makeup in the side view mirror. Apparently satisfied, she smiles happily as he gets into the truck.  
  
Clark turns the key in the ignition, turns to her, and smiles.  
  
CLARK  
  
Here we go.  
  
She smiles and takes a deep breath, savoring the moment as they drive off.  
  
EXT. LEX'S MANSION - LATE AFTERNOON  
  
Lex Luthor's mansion gradually fills the entire view from the windshield as Clark steps out of the truck. Ever the gentleman, he opens the passenger door for Chloe, who is noticeably disheartened.  
  
CHLOE  
  
We're eating at Lex's mansion?  
  
Clark smiles and shakes his head.  
  
CLARK  
  
Not exactly.  
  
As Clark escorts Chloe up the walkway, towards the mansion, two LexCorp helicopters fly overhead.  
  
INT. LEX'S MANSION - LEX'S STUDY  
  
A soft knock comes at the door. It opens and Helen Bryce steps into the study wearing an elegant white dress, her hair down, a healthy row of pearls adorning her neck.  
  
HELEN BRYCE  
  
They're here.  
  
She says it softly and Lex nods to her as he listens carefully to whoever is speaking on the other end of the phone he presses firmly to his ear.  
  
LEX  
  
What would it take to get it there by morning?  
  
A pause as Lex listens to the other end.  
  
LEX  
  
Good. You'll have it tonight.  
  
His conversation apparently over, Lex goes to hang up the phone but, mysteriously misses the phone base completely. Quickly recovering, and stealing a quick glance over his shoulder at Helen, he tries again with a great deal more success than before.  
  
He turns and walks over to Helen, taking a moment to admire her in all her beauty.  
  
LEX  
  
You look beautiful.  
  
She nods, being more polite than gracious.  
  
LEX  
  
What's wrong?  
  
HELEN BRYCE  
  
::shakes head:: Nothing.  
  
He calls her bluff.  
  
LEX  
  
Nothing?  
  
HELEN BRYCE  
  
::sighs:: I feel like I should be back at the center. They may need me there.  
  
LEX  
  
Helen, you may be the best damned Doctor they have there but, they can survive without you for one night. No one's going to blame you for enjoying your night; and it is 'your' night.  
  
She nods, again politely.  
  
LEX  
  
Hey.  
  
He gently lifts her chin up, forcing her to look up at him. He smiles as their eyes meet.  
  
LEX  
  
Smile, it increases your face value.  
  
She gives in, allowing herself the small pleasure.  
  
LEX  
  
No matter what ridiculously expensive things fill this house, there's nothing more priceless. Something my mother used to say to me.  
  
Helen gives him a quick peck on the lips.  
  
HELEN BRYCE  
  
Your mother was a smart woman. I'm sorry I never had the chance to meet her.  
  
LEX  
  
Me too.  
  
Lex wraps his arm around Helen and they leave.  
  
EXT. LEX'S MANSION - LATE AFTERNOON  
  
Two LexCorp helicopters land just off to the side of the mansion as Lex and Helen meet Clark and Chloe outside.  
  
LEX  
  
Kent. Clark Kent.  
  
CLARK  
  
You're the second person to crack that joke to me today, Lex.  
  
LEX  
  
You should take that as a compliment. I can think of lesser men to be compared too.  
  
CLARK  
  
I guess that makes you the resident Blofeld?  
  
Lex smiles, running his free hand over his bald head.  
  
LEX  
  
Well, that depends.  
  
CLARK  
  
On?  
  
LEX  
  
On whether or not you think you can stop me from taking over the world.  
  
Helen and Chloe each roll their eyes.  
  
HELEN BRYCE  
  
Gentlemen, I do so love a good @#%$ fight but, dinner reservations are for seven-thirty. So, can we Live and Let's Go?  
  
Lex and Clark smile.  
  
CHLOE  
  
Sounds like a good idea to me.  
  
LEX  
  
Well then, Mr. Bond. After you.  
  
Clark and Chloe, Lex and Helen, each head to their respective helicopters. Once inside, the two helicopters lift up off the ground and fly off toward Metropolis. just as Lionel Luthor's limousine pulls into the driveway.  
  
Lionel steps out of the limousine and smiles as the two helicopters disappear into the distance.  
  
EXT. NIGHT TIME RESTAURANT - NIGHT  
  
A flash of light illuminates a green street sign, the name "West Adam Street" carefully bolded into the face. A long red carpet sneaks out onto the sidewalk beneath a well-lit overhang as two black limousines pulls up in front of the extravagant restaurant entrance.  
  
The street lights dart across the shiny black paint of the driver door as Noah steps out of the first limo. Carefully, but briskly, he walks around the front of the limousine and opens the passenger door, keeping himself behind it as he does. Lex Luthor, dressed in an exquisite Armani, steps out and takes a long breath of the crisp Metropolis air. Clark does the same from the second limousine and they shoot each other a quick smile.  
  
Lex lends his hand to Helen, as the beautiful doctor extends touches one heeled foot to the sidewalk. Despite several much more lavishly dressed women littering the scene, Helen's simple but elegant white dress and tightly wrapped hair prove that price does not necessarily equal taste or beauty.  
  
Clark and Lex escort their dates to the front entrance, Clark looking particularly impressed by the ornately decorated exterior of the restaurant.  
  
CLARK  
  
Wow.  
  
LEX  
  
Try not to gawp, Clark. It worries the money.  
  
CLARK  
  
Sorry.  
  
They enter the restaurant.  
  
INT. NIGHT TIME RESTAURANT  
  
A familiar, rather snobby looking, maitre d' stands guard at the entrance to the dining hall. Almost immediately upon seeing Lex, however, his cold exterior turns warm and he smiles graciously.  
  
MAITRE D'  
  
Ah, Mr. Luthor. It is a pleasure to have you dining with us again tonight. We have your usual table ready.  
  
Helen raises a suspicious eyebrow and gently elbows Lex in the side.  
  
HELEN BRYCE  
  
Your usual table?  
  
Lex clears his throat as Clark and Chloe silently laugh at him.  
  
LEX  
  
Thank you, Gavin. That will be just fine.  
  
Lex turns to introduce Clark.  
  
LEX  
  
Gavin, this is Clark Kent, a very good friend of mine. I believe you have a table for him as well.  
  
MAITRE D'  
  
Indeed we do, sir.  
  
Just now noticing Chloe, the maitre d' smiles warmly.  
  
MAITRE D'  
  
And what a pleasure it is to see you here again, Ms. Sullivan. You're looking as lovely as ever.  
  
She blushes.  
  
LEX  
  
I'll be taking care of them this evening, Gavin.  
  
MAITRE D'  
  
::nods:: And we will be sure to take care of you, Mr. Luthor.  
  
LEX  
  
Thank you.  
  
Lex and Helen walk in without need of an escort. Gavin, meanwhile, takes it upon himself to escort Clark and Chloe to their table.  
  
MAITRE D'  
  
Right this way, Mr. Kent.  
  
"Night Time" is a candlelit restaurant, with several small circular tables spread out across a massive dining hall. A small orchestra plays in front of a sheen dance floor where an elderly couple gingerly slow dances to some classical masterpiece. Beautiful centerpieces with light floral arrangements sit slightly off center at each table, as the maitre d' escorts Clark and Chloe to their table, which is within eyeshot of Lex and Helen's on the other side of the restaurant.  
  
MAITRE D'  
  
Here you are, sir. Your waiter will be with you shortly.  
  
CLARK  
  
Thank you.  
  
CHLOE  
  
Thank you, Gavin.  
  
Gavin smiles and walks away as Chloe and Clark take their seats.  
  
After a few short seconds of awkward silence.  
  
CHLOE  
  
You didn't have to do this you know.  
  
CLARK  
  
I know. I wanted too. I know this is your favorite restaurant.  
  
CHLOE  
  
::confused:: You do? I don't remember telling you that.  
  
Clark pauses, caught knowing too much.  
  
CLARK  
  
Pete told me.  
  
CHLOE  
  
Oh.  
  
A nice save.  
  
CHLOE  
  
::shrugs:: Okay.  
  
Clark quickly grabs his menu and starts reading, hoping to kill the inquisition in its tracks. Chloe picks up hers as well, pretending not to notice as Clark sneaks several peeks at her from behind his menu. She smiles silently to herself.  
  
CHLOE  
  
Everything just looks so good.  
  
CLARK  
  
Yeah, everything looks great.  
  
She looks up at him and smiles.  
  
BUSBOY  
  
Water, sir?  
  
Taken by surprise, Clark turns quickly in his seat just as a busboy raises one of the empty glasses from the table to fill it with water, accidentally hitting the busboy's hand. Consequently, the busboy misses the glass completely and pours water all over his own sleeve and the floor.  
  
CLARK  
  
Oh, I'm sorry. I didn't mean too.  
  
Clark grabs for his napkin to help dry the man off. In the process he inadvertently drops one of his forks on the ground.  
  
BUSBOY  
  
It's all right, sir. It's my fault.  
  
The busboy and Clark simultaneously bend down to pick up the fork and their heads collide. Naturally, the poor water boy slams into Clark and bounces backwards, hitting the ground hard, the rest of the water in the pitcher pouring all over him.  
  
CLARK  
  
Oh, man, I'm. I'm sorry.  
  
Chloe cringes, desperately wanting to curl into a little ball in her seat and disappear.  
  
CHLOE  
  
Oh, Clark.  
  
Clark stands up and gives the poor busboy a hand getting up.  
  
CLARK  
  
Are you all right? I didn't mean too.  
  
Once to his feet, the busboy let's go of Clark's hand and takes a step back, lest Clark something else going wrong.  
  
BUSBOY  
  
It's okay, sir. I'm fine.  
  
CLARK  
  
I'm really sorry.  
  
Clark sits backs down.  
  
BUSBOY  
  
Forget it. Really, I'm fine. just a little wet. and cold.  
  
Meanwhile, across the restaurant, Lex shakes his head at the scene.  
  
Finally, Chloe takes it upon herself to pick up the fork. She hands it to the busboy.  
  
CHLOE  
  
We're going to need another fork.  
  
CLARK  
  
Oh, no, that's okay. They gave me extra.  
  
Clark motions towards two other forks still at his place setting.  
  
The busboy shoots Chloe a slightly confused glance. She just shakes her head and shrugs.  
  
BUSBOY  
  
I'll bring you another fork, sir.  
  
Clark seems confused as the busboy walks off with the fork and now empty pitcher. He looks to Chloe.  
  
CLARK  
  
What?  
  
CHLOE  
  
::shakes head:: You're funny.  
  
She shakes her head and goes back to reading her menu. After a short while, their waiter walks up.  
  
WAITER  
  
Good evening, my name is Christian and I will be your waiter for this evening. How are you two tonight?  
  
CHLOE  
  
Good, thanks.  
  
WAITER  
  
Excellent. Our chef's specials tonight include a delectable Butterfly Lamb, marinated in a light Burgundy sauce, Chicken Oporto, prepared with thinly sliced mushrooms in a white port, and for our vegetarian special a Salade Nicoise with your choice of dressing. Is there anything I can get for you while you prepare to make your decision?  
  
CHLOE  
  
Um, well, I'm ready to order now.  
  
She looks over at Clark.  
  
CHLOE  
  
.If you are.  
  
CLARK  
  
Uh, yeah, I guess.  
  
A blatant lie.  
  
CHLOE  
  
I think I'm going to have the Chef's Salad with a light, light, light Italian dressing.  
  
WAITER  
  
Very good, and would the lady care for a soup?  
  
CHLOE  
  
::smiles:: Mulligatawny. I never get to have it at home. Dad's allergic.  
  
WAITER  
  
Mulligatawny it is.  
  
CHLOE  
  
And a shrimp cocktail.  
  
WAITER  
  
Very good. And for the gentleman?  
  
CLARK  
  
Um. I think, I'm going to have the.  
  
Clark seems worried as he reads the menu. Most everything on the menu has a long and fancy name, several in other languages. He struggles to make heads or tails of it.  
  
CLARK  
  
Can-nel-loni.  
  
WAITER  
  
::nods:: Very good, and would you care for soup or salad?  
  
CLARK  
  
I'll have the soup too, please.  
  
WAITER  
  
And what kind?  
  
CLARK  
  
Chicken?  
  
WAITER  
  
::nods:: Good. And can I get you two something to drink?  
  
CHLOE  
  
I'd like a Virgin Mary, please.  
  
CLARK  
  
Do you have Pepsi?  
  
The waiter pauses, trying not to laugh.  
  
WAITER  
  
Yes, sir.  
  
CLARK  
  
I'll have a Pepsi, please.  
  
WAITER  
  
Very good. I'll be back with your drinks and our complementary stuffed broccoli bread in a moment.  
  
The waiter leaves.  
  
CHLOE  
  
Pepsi?  
  
Clark looks sheepish.  
  
CLARK  
  
I didn't know what any of the other drinks on the menu were.  
  
CHLOE  
  
Why didn't you ask? I could have told you.  
  
CLARK  
  
Well, I didn't want to look stupid.  
  
CHLOE  
  
Ordering a sixteen dollar Pepsi is stupid, Clark.  
  
CLARK  
  
Oh. Well, then, as long as we're on the subject. What did I just order?  
  
CHLOE  
  
You don't know what you ordered?  
  
CLARK  
  
Well, I don't know why they can't write the damn menus in English. I saw the Pasta section and picked the one that had the shortest name.  
  
CHLOE  
  
To be honest, I don't really know what Cannelloni is either.  
  
CLARK  
  
Oh. Well, if it's just pasta, how bad could it be?  
  
CHLOE  
  
Haven't you ever been out to a fancy restaurant before?  
  
CLARK  
  
Yeah, sure, lots of times. with my parents.  
  
CHLOE  
  
You're uncomfortable, aren't you?  
  
Clark tugs at his collar.  
  
CLARK  
  
Maybe a little.  
  
CHLOE  
  
Then, I don't understand why you wanted to come here.  
  
CLARK  
  
Because I know you like it here.  
  
CHLOE  
  
But I don't like that you're not happy.  
  
CLARK  
  
I never said I wasn't happy.  
  
CHLOE  
  
But you're not having any fun.  
  
CLARK  
  
Chloe, we've been here for all of ten minutes.  
  
Chloe sighs, slumping back in her chair.  
  
CLARK  
  
Besides, any time I get to spend with you is time well spent.  
  
She fights the smile but, he refuses to give in. One look at the big stupid grin on his face brings a smile to hers.  
  
CHLOE  
  
There's that Kent charm again. You think all you have to do is give a girl a compliment and you get yourself off the hook.  
  
CLARK  
  
If it makes you feel any better, next time we'll go to McDonalds. They don't actually speak English there but, at least I can read the menus.  
  
They share a laugh.  
  
EXT. KENT FARM - NIGHT  
  
Pete steps out of the Kent house, giving a quick wave inside before heading down the porch steps.  
  
PETE  
  
Thanks, Mrs. Kent. I'll only be a minute.  
  
He heads for the barn.  
  
INT. KENT FARM - CLARK'S LOFT  
  
Pete gingerly feels his way up the barn steps up to Clark's loft. With all the lights out, it's all but completely dark everywhere except by the window. That all suddenly changes when a light goes on unexpectedly, nearly scaring Pete out of his boots.  
  
PETE  
  
Whoa, Lana.  
  
Lana sits calmly over on an old couch up against one of the walls, her legs curled up beneath her.  
  
LANA  
  
Did I scare you, Pete?  
  
PETE  
  
I didn't realize you were up here.  
  
LANA  
  
I was waiting for Clark.  
  
PETE  
  
Oh.  
  
Pete chooses his next words carefully, not sure how much information Lana has at the moment and not wanting to spill the proverbial beans.  
  
PETE  
  
Well, he's probably not going to be back until real late.  
  
LANA  
  
Oh, something tells me he's going to be back much sooner than later.  
  
Pete seems confused by that statement. and a little worried.  
  
LANA  
  
Mr. and Mrs. Kent may be comfortable with the open door policy they've established for Clark but, Chloe has a curfew. If she's not punched in by eleven, Mr. Sullivan turns into the telemarketer from hell.  
  
Pete exhales briskly and smiles.  
  
LANA  
  
One time, after sneaking into the school late to work on the Torch, she didn't get in until close to midnight. Her father was already halfway through the C's by the time she got home.  
  
PETE  
  
::laughs:: Yikes.  
  
LANA  
  
So, what brings you to the Fortress?  
  
PETE  
  
I lost my cell phone. I was over here earlier. I thought maybe it fell out of my pocket or something.  
  
She looks around nonchalantly.  
  
LANA  
  
Well, I haven't seen it.  
  
PETE  
  
Ah-ha, that's why I brought this.  
  
Pete takes out another cell phone from one of his pockets.  
  
PETE  
  
It's my dad's. I figure I'll call myself and see what happens. If we don't hear anything.  
  
He shrugs.  
  
LANA  
  
::smiles:: See, that's what I like about you, Pete. You're always thinking ahead.  
  
Pete smiles and dialing using his father's cell phone. After a few seconds, they hear a ringing but, it's very faint.  
  
LANA  
  
Where's it coming from?  
  
PETE  
  
I don't know.  
  
Lana stands up from the couch and they begin their search.  
  
PETE  
  
So, I don't get it. If you knew Clark and Chloe were out on a date, you knew Clark wasn't going to be here.  
  
LANA  
  
Yeah, I know. I guess this may sound kind of weird but, a part of me figured he'd be here anyway. Clark's like that. He just always seems to show up when you really need him.  
  
PETE  
  
I know what you mean.  
  
LANA  
  
It's almost like clockwork really. Whenever I'm in trouble, he's always there for me.  
  
Pete stops in his tracks, looking up at her as she searches over by the window.  
  
PETE  
  
Lana?  
  
She looks up at him, her eyes beginning to tear.  
  
LANA  
  
Yeah, Pete?  
  
PETE  
  
Lana, if you're in some kind of trouble.  
  
Pete walks over to her, clearly worried. She almost looks scared, practically quivering in place.  
  
PETE  
  
Is there anything I can do?  
  
LANA  
  
Actually, there is.  
  
In one quick motion, she grabs him by both his arms and twists her body, pulling him passed her. Sticking one leg out, she trips his legs out from under him and forces him out the window. Pete hits the ground with a thud and is instantly knocked unconscious. It all happens so quickly, he barely had time to scream on his way down.  
  
Lana looks down from the loft window at poor Pete below. She seems sad and, for some reason, genuinely surprised he hit the ground. She desperately looks out and around the Kent property, searching for something. for someone.  
  
He doesn't come.  
  
LANA  
  
He can't save us.  
  
The epiphany deadens all expression in her face.  
  
LANA  
  
I guess the world is coming to an end.  
  
The cell phone continues to ring as Lana retreats from the window.  
  
INT. NIGHT TIME RESTAURANT  
  
Lex smiles, pleased with the fact that Clark and Chloe have gotten over the earlier catastrophes of the evening. He nods to himself as he observes them laughing over some story Clark is telling.  
  
HELEN BRYCE  
  
This was a nice thing you did for them tonight, Lex.  
  
LEX  
  
I know. You'd think my continuous acts of greatness would become redundant at some point.  
  
HELEN BRYCE  
  
::rolls eyes:: I'm being serious, Lex. I'm proud of you.  
  
Lex smiles and looks down at his half-eaten plate of food.  
  
LEX  
  
Didn't think I had it in me?  
  
HELEN BRYCE  
  
I'll admit. When you first told me they were coming, I was a little skeptical of your motives. but, you really came through tonight.  
  
She smiles, lifting up her ticket to "Man of La Mancha".  
  
HELEN BRYCE  
  
In more ways than one.  
  
LEX  
  
::smiles:: Yet, I get the distinct feeling you had more than a sneaking suspicion when it came to those tickets.  
  
She stands and leans across the table, giving him a nice healthy kiss on the lips.  
  
HELEN BRYCE  
  
When will you learn, Lex Luthor? You can't keep secrets from me.  
  
Meanwhile, Clark and Chloe continue to annoy more than one or two neighboring tables as they laugh hysterically to each other.  
  
CLARK  
  
And then there was the time that he got stuck in one of our kitchen cabinets.  
  
CHLOE  
  
::laughing:: He didn't!  
  
CLARK  
  
::nods:: We were playing manhunt over at my house and my dad was painting the upstairs bedrooms. We had boxes of stuff all over the house and in the kitchen. Anyway, Pete had wedged himself inside one of the cabinets to try and hide.  
  
CHLOE  
  
::laughing:: Oh no.  
  
CLARK  
  
Well, my dad came down to wash his hands at the kitchen sink and moved one of the boxes out of his way, right in front of the cabinet door where Pete was hiding.  
  
Chloe takes a sip of her water, trying not to spit it out across the table in the process.  
  
CLARK  
  
He must have been in there for three hours before anyone found him.  
  
CHLOE  
  
Why didn't he call out for help?  
  
CLARK  
  
He did but, my dad was upstairs, I was looking for him outside, and mom wasn't home.  
  
CHLOE  
  
Oh my, poor Pete.  
  
CLARK  
  
Oh, yeah, poor Pete. He deserved it after all the things he's done to me.  
  
CHLOE  
  
You mean like the time he made you eat that worm?  
  
CLARK  
  
How did you find out about that?  
  
CHLOE  
  
Pete told me.  
  
They share another brief laugh before catching their breath.  
  
CHLOE  
  
I've had a really nice time tonight, Clark.  
  
CLARK  
  
Yeah. me too. Although, that ham in the Cannelloni was a bit of a shock.  
  
Behind Chloe, the orchestra softly begins playing "Unforgettable" and Lex and Helen head for the dance floor. Clark watches them start dancing and takes the cue.  
  
CLARK  
  
You know, there is one thing I wanted to do tonight. before we left.  
  
CHLOE  
  
That is?  
  
He stands up, walks around the table, and extends his hand to Chloe.  
  
CLARK  
  
I believe I owe you a dance.  
  
Smiling, she swallows hard, and rests her hand in his. Slowly, she stands and the two teens make their way to the dance floor.  
  
Chloe smiles up at him as the music softly plays in the background. Turning slightly, she closes her eyes, resting her head on his chest. Likewise, Helen does the same as she dances with Lex.  
  
After a few minutes, the song comes to an end and Clark and Chloe's evening with it. Clark looks over at Lex and gets a regretful nod confirming it. All four make their way back to their tables.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT - NIGHT  
  
Two long, black, limousines roll out onto a LexCorp private helipad at Metropolis International Airport. A LexCorp helicopter sits on the helipad ready to take off, the pilot, who keeps his head down, standing out in front of it.  
  
Clark, Chloe, and Lex step out of their respective limousines, Helen opting to wait behind. As Lex escorts Clark and Chloe to the helicopter, the pilot opens the door for them, keeping his head down.  
  
The pilot helps Chloe into the helicopter as Clark turns around to face Lex.  
  
CLARK  
  
Lex, I just wanted to thank you for tonight.  
  
LEX  
  
What are friends for? I was glad to do it.  
  
CLARK  
  
You're a good friend, Lex.  
  
Clark extends his hand. Lex shakes it and smiles.  
  
LEX  
  
Thanks, Clark. That means a lot.  
  
Clark nods his "you're welcome".  
  
CLARK  
  
Well, enjoy your play.  
  
LEX  
  
::smiles:: Oh, I will. Enjoy your hour long trip home in the backseat of a helicopter.  
  
CLARK  
  
::smiles:: Oh, I will.  
  
Clark climbs into the helicopter. The pilot quickly shuts the door behind him.  
  
LEX  
  
Take good care of them.  
  
Lex turns back toward his limousine.  
  
HELICOPTER PILOT  
  
I will, Mr. Luthor.  
  
Lex pauses mid-stride and his brow tightens. The pilot's voice sounds familiar. Looking over his shoulder, he looks back as the pilot moves around the helicopter and gets in the front seat. After a few seconds, though, Lex simply shakes his head and walks back to his limousine.  
  
The helicopter prepares to lift off as Lex Luthor steps back into his limousine and Noah shuts the door behind him.  
  
INT. LEX LUTHOR'S LIMOUSINE  
  
Lex sits quietly next to Helen, running over the voice again in his head. There was something distinctly familiar about it that he just can't seem to put his finger on.  
  
HELEN BRYCE  
  
Lex? Is everything all right?  
  
Noah gets into the limousine and starts it up, preparing to drive off as Lex contemplates the question.  
  
LEX  
  
Yeah. Yeah, everything's.  
  
A look of sheer horror comes across Lex's face. His eyes widen and the color drains from his skin. Almost as soon as Noah hits the accelerator, Lex shouts out.  
  
LEX  
  
Stop the limo!  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT - NIGHT  
  
The limousine comes to a screeching halt and Lex Luthor erupts out of the back seat. Immediately, he makes a mad dash toward the helicopter.  
  
LEX  
  
Stop! Wait!  
  
It's too late. The helicopter lifts into the air and flies off. in the opposite direction of Smallville.  
  
INT. LEXCORP HELICOPTER  
  
Clark wraps his arm around Chloe's shoulder, kissing her lightly on the forehead. She smiles contently, resting her head on his arm.  
  
Meanwhile, behind the controls of the helicopter, the pilot removes his hat, revealing a conspicuously full head of long brown hair underneath.  
  
MERCY GRAVES  
  
Ah. Much better.  
  
From behind the controls of the helicopter, Mercy places her hat on the head of the man sitting in the copilot's seat, which is no small task considering the odd angle at which it rests.  
  
Clark and Chloe none the wiser, Mercy Graves smiles as she watches the LuthorCorp Private Airline hangars come into view below.  
  
MERCY GRAVES  
  
Say, is it hot in here?  
  
Clark and Chloe each consider the question.  
  
CLARK  
  
No, it's pretty cool actually.  
  
MERCY GRAVES  
  
Oh, cause I'm feeling a little warm. I'm just going to step outside real quick.  
  
Clark and Chloe look on in shock as Mercy opens the door and very casually jumps out of the helicopter.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT - NIGHT  
  
Helen runs up behind Lex from the limousine.  
  
HELEN BRYCE  
  
Lex, what is it?  
  
Lex Luthor looks on in horror as the helicopter carrying Clark and Chloe falls blindly out of the sky.  
  
LEX  
  
No.  
  
A massive fireball erupts in the distance as the helicopter slams into one of the LuthorCorp Private Airline hangars. The explosion releases a rolling thunder, louder than any storm, followed by a terrible silence. 


End file.
